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INSIDE: ™?:9>B>C9IG>8@H ™I=:IG>;;>9H ™=IG@ ™I=:A6HI KINECTION

www.themusic.com.au


“Volition has succeeded in making one of the most unpredictable and insane experiences in gaming memory”

9/10

- Game Informer Gold Star

“Saints Row: The Third succeeds tremendously at delivering its unique brand of raunchy, outrageous fun.”

“One of the finest sandbox games ever made” 10/10

- GameSpot

- GamesRadar

“We simply couldn’t get enough of it!” 9/10 - Official PlayStation magazine

“The craziest Game you will ever play”

“Wonderful, ridiculous insanity”

- IGN

- New York Post

“9.5”

“9.0”

- Official Xbox

- Game

Magazine

Informer

“A uniquely insane and highly addictive experience” 9/10

“Pulls no punches and makes no apologies”

- BigPondGameArena

- Complex

“Absolute laugh riot throughout”

“Out GTA’s GTA”

9/10

- Official PlayStation Magazine

- Hyper Magazine

AVAILABLE NOW Strong sexual and crime themes, violence and coarse language, Gaming experience may change online.

© 2011 THQ Inc. Developed by Volition, Inc. THQ, Saints Row: The Third, Volition, Inc and their respective logos are trademarks and/or registered trademarks of THQ Inc. All Rights Reserved. All other trademarks, logos and copyrights are property of their respective owners. KINECT, Xbox, Xbox 360, Xbox LIVE, and the Xbox logos are trademarks of the Microsoft group of companies and are used under license from Microsoft. “PlayStation” and the “PS” Family logo are registered trademarks and “PS3” and the PlayStation Network logo are trademarks of Sony Computer Entertainment Inc.

Scan your QR reader above to unlock trailers & much more!


THE DRUM MEDIA • 3


THE FUTURE OF MUSIC IS HERE WITH THE SAMSUNG MUSIC HUB

THE SAMSUNG MUSIC HUB is a totally new and exciting way of accessing and listening to music via ‘the cloud’. Now you can ‘stream’ music to compatible Samsung devices*. It’s a revolutionary step in making a connection between music and devices like never before. ENTER THE HUB AND: ACCESS MILLIONS OF SONGS: Enjoy so much

FOLLOW ME FEATURE: Samsung Music Hub will

music it will blow your mind. Create more playlists than you could listen to in an entire lifetime.

remember which playlist and track you were up to, so if you stop playing on one device and resume on another, it will pick up from the start of the last track played.

MUSIC VIDEOS: Coming soon** The Hub has access to over 10,000+ on-demand HD music clips with stereo sound for all 2011 Smart AV devices. Now your lounge room will become the dance floor.

AUTO SYNC: Create a playlist on one device and then play it on another.

MULTIPLE PLATFORMS: The Premium service works across all 5 Samsung devices featured below.

SMART CACHING: Available for Samsung GALAXY Tablets and Samsung GALAXY Smartphones. This allows you to download music from Samsung Music Hub and then store up to 500 tracks and play it locally without the need to be connected continuously to a network.

DISCOVERY FEATURE: The Hub offers an intelligent suggestion tool, in-depth discography, extensive artists information and a fast search functionality. Searching and finding has never been so fun and easy.

AND THAT’S JUST A LITTLE TASTE OF WHAT’S AT’S TO COME. SOUND GOOD? GOOD Join the Samsung Music Hub revolution and gett allll this for fo less than th $15 per e month. FOR A LIMITED TIME ONLY - enjoy a two mo month trial on all existing and new Galaxy SII Smartphones purchased before December 31, 2011***

Find me in

WITH SAMSUNG, MUSIC JUST GOT INFINITELY BETTER. samsungmusichub.com.au * Access to all four platforms & web browser PC available on Premium service from December 2011. ** Available in December 2011 on Samsung 2011 Model Smart TV’s, Smart Blu-ray & Smart Home Theatre Systems. *** Downloaded application, signed up for Mobile.

Find me in


HORDERN PAVILION

FRIDAY MARCH 30 RESERVED SEATING 132 849 or ticketek.com.au

enmore theatre

friday march 30 132 849 or ticketek.com.au

ON SALE FRIDAY NOVEMBER 25 Presented by Michael Coppel I briansetzer.com I g3tour.com I satriani.com I vai.com I stevelukather.net I coppel.com.au

6 â&#x20AC;˘ THE DRUM MEDIA


THE DRUM MEDIA • 7


8 • THE DRUM MEDIA


THE DRUM MEDIA • 9


Tues 4 Oct

TRIVIA WITH KEVIN

Wed 5 Oct

$500 PRIZE POOL

Weekly Jackpot 7.30pm

Open Mic Night 7.30pm

BYO Instruments (PA Provided) Rock up to play

Thurs 24 Nov OPEN MIC NIGHT

GRAND PLAN Fri 25 Nov + OLD TIME GLORY

7.30pm

+ THE CRUEL KIND

THE CLUE Sat 26 Nov + GENERATION CRASH + THE GUNN SHOW

For Bookings

10 • THE DRUM MEDIA

james@thelaunchsquad.com.au | www.thelaunchsquad.com.au


THE DRUM MEDIA • 11


th f e or ha m rperl hoy te

l

COMING SOON TUESDAY 22ND NOVEMBER

DONNY EDWARDS “WHOLE LOTTA ELVIS”

WEDNESDAY 23RD NOVEMBER

ALLOWAY

+ Colin Moore (Canada) + Midnightman THURSDAY 24TH NOVEMBER Reggae Rocksteady Legend

STRANGER COLE (JAMAICA)

FRIDAY 25TH NOVEMBER

DRAGON

+ Mississippi Shakedown SATURDAY 26TH NOVEMBER

KISS OFF + Dressed To Kill

SUNDAY 27TH NOVEMBER

THE STRIDES

Tuesday 29 November Kirrakamere (CD Launch) Thursday 1 December Wendy Matthews Friday 2 December SUPERHEAVYWEIGHTS Saturday 3 December The Feral Swing Katz Thursday 8 December Matt Andersen (Canada) Friday 9 December Johnny G and The E Types

900 PRINCES HIGHWAY, TEMPE PH: 9559 6300 www.valvebar.com.au WED 23 7PM

THURS 24 7PM

FRI 25 7PM

SAT 26

“DISHONOURED”

CORE SHOW WITH SUPPORT FROM “THE LAST LIGHT” , “BECAUSE OF TOMORROW” , “ALICE VS EVERYTHING’

“HELPFUL KITCHEN GODS”

JAZZ/ROCK/PROG SHOW WITH SUPPORT FROM “HIGHROAD NO 28” , “ISLANDS” , “THE GOOD WASTE” , “CALL TO COLOUR”

“SOUTHDOWN”

INDIE ROCK SHOW WITH SUPPORT FROM “TAYLOR KING” , “TRIBAL “ , “CHASING LIGHT” , BEN CUDDY

PUNK SHOWDOWN

Saturday 10 December Classic Rock Show

3PM12AM

Tuesday 13 December Frank Fairfield (USA)

SUN 27 12PM

“THE CONTORTIONIST” (USA)

SUN 27 4PM

“CAVALCADE”

Friday 16 December The Mick Hart Experience Saturday 17 December Mental As Anything Sunday 18 December Boats Of Berlin Friday 23 December King Tide

PUNK ROCK SHOW FEAT: “TOPNOVIL” , “LIBERATION FRONT” , “ON EMPTY” , “ACID MONKEYS” , “BLAZIN ENTRAILS” , “THE SCAM” , “LOST CAUSE” , “HEADBUT” AND MORE

AA SHOW WITH SUPPORT FROM “THE STORM PICTURESQUE” , “THE OCEAN THE SKY” , “PLEDGE THIS” , “TO OUR FOREFATHERS”

ROCK SHOW WITH SUPPORT FROM “HOW TO SURVIVE A BULL FIGHT” AND MANY MORE

coming soon: Wed 30 Nov: Punk Show with “Pawn Magz” , “The Reprise” , “No Further Questions” and many more ; Thu 1 Dec: Core Show feat: “C.O.F.F.I.N” , “Ghosts” , “Goonzilla” , “Sck Knt Experience” and guests ; Fri 2 Dec: Freakabass presents “Bass Meditation” party with DJ’s Busta Moo b2b Ill Faded, Body Snatchas, D Reds, Syph, Dimension, Muzz ; Sat 3 Dec: 12pm Metalcore Show with “Endworld” and many more; 8pm: Swarm Sydney presents: Innigo Kennedy (UK), with Vic Zee, Allan Nonamaka, Shaden Fruede, Mookie and many more ; Sun 4 Dec: 12pm: Punk/Hardcore Show feat: “No Such Luck” , “Ghosts” , “Patriarchal Death Machine” , “Disparo” , “Postal” , “Excitebike” , “Jack Nash” , “Flogging The Goods” , “Nudist Colonies Of The World” For band bookings please email valvebar@gmail.com

Bistro open Lunch and Dinner !!

TUESDAY 22ND NOVEMBER

Eora tafe showcase

THURSDAY 24TH NOVEMBER

Klub Koori presents

Funk and Soul Night Marcus Corowa CD launch FRIDAY 25TH NOVEMBER

Stranger Cole (Jamaica) + King Tide

SAT 26TH NOVEMBER

Star Assassin + Shape + Crash Through + Pink Bullet + Middleton Road

FRIDAY 2ND NOVEMBER

The Lockhearts CD Launch + guests

12 • THE DRUM MEDIA

Sat 3/12 Urban Fusion – Roll the Dice Featuring Danny G Felix + Roger vs The Man + Kween G + Taikoz Tues 6/12 Noah Taylor & the Sloppy Boys Launch the album ‘Live Free or Die’ Thur 8/12 Geoff Achison’s ‘Classically Blue’ With Violinist Adrian K Fri 9/12 Penny & The Mystics Sat 10/12 Paradise Motel + Lazy Susan Sun 11/10 Jaanz Scool Of Singing Thu 15/12 Jo Meares & The Honeyriders + Charles Jenkins + A Casual End Mile Fri 16/12 Bob Evans + Adalita Sat 17/12 A Memphis Soul Xmas – Johnny G & The E Types


THE DRUM MEDIA • 13


WED 23

FREE ENTRY

THURS 24 $8

FRI 25 $12

SAT 26

$10 (PRE) $12 (DOOR)

SUN 27

FREE ENTRY

THURS 1 $8

FRI 2

$5 (PRE) $10 (DOOR)

SAT 3

$30 (PRE) $35 (DOOR)

SUN 4

$17 (PRE) $22 (DOOR)

MUSOS JAM SPEAKEASY THE VEIL + FUTILITY + MYRAETH + KATABASIS SHADY GLIMPSE(JAPAN) + SORATHIAN DAWN + TROLDHAUGEN + TERATORNIS LUCY DESOTO SPEAKEASY CENTRE LEFT COLLECTIVE + BROKEN THOUGHT THEORY â&#x20AC;&#x201C; LC BEATS + JEYE KING

(USA)

ALL SHALL PERISH THY ART IS MURDER A/A

ASSAULTER(DEC 09), SYNDICATE(DEC 10), SKWAY(DEC 11 A/A), FOOT IN THE WALL(DEC 22) â&#x20AC;&#x2DC;GOBOOKEM.COMâ&#x20AC;&#x2122;

(USA)

TUE

6

DEC 8PM 18+

(USA)

+ THE HOLY SOUL + THE TREATMENT

SATURDAY 26TH NOVEMBER

Lockdown (last show ever) + Get Real + Aftermath + Bridges + Deadly Visions

SATURDAY 26TH NOVEMBER

Life Support SATURDAY 10TH DECEMBER

%.42!.#%0/).43 4/#!-053

45..%,

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$ 2

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2.!6% %!34% 2$ 4/#)49

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Next Best Thing Photo I.D required â&#x20AC;&#x201C; information for members and their guests Band bookings: Jova Productions - jovaproductions@live.com.au

&//4"

$ 44!2 !-!

SATURDAY 24TH DECEMBER

www.bizzos.com.au or check out our Facebook page

4/#)49"2/!$7!9

!6 %

Total Control Rock


THE DRUM MEDIA • 15


Y 1ST JULY

FRIDAY 25TH NOVEMBER

SUNDAY 27TH NOVEMBER

QUASIMODO + MISSISSIPPI SHAKEDOWN

SARAH MCLEOD FRIDAY 2ND DECEMBER

SUNDAY 4TH DECEMBER

HAT FITZ & CARA ROBINSON SUNDAY 11TH DECEMBER

WENDY MATTHEWS THURSDAY 15TH DECEMBER

MATT ANDERSEN

THE RAY BEADLE BAND

(CANADA)

+ CLAUDE HAY

FRIDAY 16TH DECEMBER

WEDNESDAY 28TH DECEMBER

THE FLOOD

RENEE GEYER

FOR BAND BOOKINGS, PLEASE CONTACT INFO@CODEONE.NET.AU CNR OF GEORGE + SWANSON ST

ERSKINEVILLE 3 DOORS FROM THE RAILWAY STATION

P 9565 1441 ROSEOFAUST@BIGPOND.COM

FRI 25TH NOV

50 MILLION BEERS 9PM

The Beers, as their affectionately known, play roots 'n' blues 'n' songs of bootleggers, fugitives from justice and rambling gamblers. Some are well-worn covers from the America's musical past , but most are written by the group. Singer Charlie Maclean, Bassplayer Mark Cornwall, Steeler Graham Griffith , Guitar slinger Rev, JD Love Drummer Keith Newman.

16 • THE DRUM MEDIA

WED 30TH NOV

JD LOVE

9PM

with guests

49 GOODBYES: INCLUDING Smithy from SataliteV and JFK on double bass, George Bibicos on keys, Joel Davis on Drums

FRI 2ND DEC

THE FLAMING STARS

DREW & GREG DEAN - (The Comets, Guitar & Keys) ANDREW TRAVERS - (Andy 500, drums) GREG MARSHALL - (The Barstuds, double bass)

The Flaming Stars cover all aspects of 50’s music and the fun side of the 60’s, playing classic (and some lesser known but no less groovy) Rock ‘n’ Roll, Swing, Rhythm and Blues, DooWop, Bossa Nova, Pop & Jazz.


FEEL PRESENTS

TUESDAY 24TH APRIL NEWCASTLE PANTHERS

TICKETS FROM WWW.MOSHTIX.COM.AU, PH: 4926 6200 OR IN PERSON AT THE VENUE (CNR KING AND UNION STREETS) AND ALL MOSHTIX OUTLETS

WEDNESDAY 25TH & THURSDAY 26TH APRIL SYDNEY THE YORK THEATRE, SEYMOUR CENTRE TICKETS FROM WWW.SYDNEYCOMEDYFEST.COM.AU, WWW.TICKETEK.COM.AU, PH: 132 849 OR IN PERSON AT THE VENUE BOX OFFICE AND ALL TICKETEK OUTLETS

WWW.FEELPRESENTS.COM / WWW.HENRYROLLINS.COM

TICKETS ON SALE 28TH NOVEMBER THE DRUM MEDIA • 17


18 • THE DRUM MEDIA


THE DRUM MEDIA • 19


20 • THE DRUM MEDIA


THE DRUM MEDIA • 21


GIVEAWAYS

30

THE SANDRINGHAM HOTEL 387 KING STREET NEWTOWN / 9557 1254 S YEAR WWW.SANDO.COM.AU BOOKINGSCONTACT SANDO@ATOMICDROP.COM.AU WWW.MYSPACE.COM/THESANDRINGHAMHOTEL

WED 23 NOV

“NO SLEEP ‘TILL SANDO - PART 4”

WHY, ‘TIS A GUINEAFOWL FREE

DEBBIE + $3 SCHOONERS OF SANDO LAGER

STREET LEVEL BAR:

THU 24 NOV

THE GAELIC’S ON FIRE

$12

HARD-ONS!

+ CHINESE BURNS UNIT + SMITTY & B GOODE

$15

“BEDROCK”

RAISING FUNDS FOR SYDNEY HOMELESS CONNECT THE MALADIES + HAILER + HILSDEN FEAT. THE PULLAPARTS + THE RAIDS + KARL BROADIE + ALICE TERRY + PETER O'DOHERTY (DOG TRUMPET/EX-MENTAL AS ANYTHING)

Currently flying high on the back of their recent headline shows over in the US, Guineafowl are back to deliver their idyllic pop tunes to their home crowd Friday night at The Standard, supported by Glass Towers and Fire Santa Rosa, Fire! We have three double passes to the over 18s show to give away.

STRANGE TALK IN OXFORD

Melbourne electro-pop four-piece Strange Talk are getting more than the local nod. The UK’s estimable NME has suggested that, “since Klaxons disappeared…

JONATHAN DEVOY + SPECIAL GUESTS

FRI 25 NOV

“NO ONE HERE GETS OUT ALIVE” A TRIBUTE TO THE DOORS

FEATURING DAMIEN LOVELOCK, JEFF DUFF, SAM JOOLE, SIMON BRUCE $20 PRE-SALE / $25 DOOR SALE ***TICKETS ON SALE NOW WWW.ZOMBIEDOGENTERTAINENT.COM *** FREE

VIDEO JUKE BOX

“EAST WEST DEATHGRIND FEST 3”

SAT 26 NOV

$20

DAEMON FOETAL HARVEST + THE DAY EVERYTHING BECAME NOTHING + MOTHER EEL + HELL ITSELF + THE MUNG + TORTURED + FESTERING DRIPPAGE + GRANNY FIST + DISCIPLES OF TORTURE + LOWER BACK PROBLEMS + AUTOLYSIS + PUTREFACTION THE FIRST 100 PAYERS WILL RECEIVE A GRINDHEAD RECORDS CD FOR FREE! ***DOORS OPEN 2:00PM***

STREET LEVEL BAR:

SUN 27 NOV

DRUG SQUAD 66 + PARTICLES + ART RUSH

$10 FREE

THE BADDIES

STREET LEVEL BAR:

EVERY MONDAY

FREE

MICK O’SHEA 4PM - 7PM / DJ KAKI 8PM-LATE “1-94 BAR PRESENTS”

“SANDO SKETCH CLUB”

FREE

STREET LEVEL BAR: “BLUE MONDAYS” WITH FRANK SULTANA & GUESTS

EVERY TUESDAY STREET LEVEL BAR:

“THE SONGWRITER SESSIONS”

FREE

ADAM PRINGLE AND FRIENDS - FUNKY AS F#CK + TOOHEYS $6 NEW JUGS (7-8PM)

COMING SOON FRI 2 DEC ---

SIX FT HICK + GENTLE BEN AND HIS SENSITIVE SIDE

*** WWW.ZOMBIEDOGENTERTAINMENT.COM ***

GUITAR WOLF (JAPAN) *** WWW.MOSHTIX.COM.AU *** FRI 23 DEC --- DAVE MCCORMACK AND THE POLAROIDS SAT 10 DEC ---

*** WWW.ZOMBIEDOGENTERTAINMENT.COM***

"NEW YEAR'S EVILUTION" DARKER HALF + MORE FRI 6 JAN --- JIM WARD (AT THE DRIVE IN / SPARTA) (USA) SAT 31 DEC ---

*** WWW.MOSHTIX.COM.AU ***

FRI 13 JAN ---

“CONJURATION FEST” ABSU (USA) + MORE

*** WWW.MOSHTIX.COM.AU ***

FRI 9 MAR ---

ENDLESS BOOGIE (USA) ***WWW.MOSHTIX.COM.AU***

----------------DJ’S BISTRO-----------------

OPEN 7 DAYS SERVING GREAT PUB FOOD ALL NIGHT 22 • THE DRUM MEDIA

DESIGNER VELLA LAUNCH

Thursday night, the Annandale hosts the launch of the debut mini-album, Time & Space, from Designer Pilot, a live DVD from John Vella and his band, and the first show in 18 months by epictronic rockers Dreamdelay, and to celebrate we have three packs, each with a copy of Vella’s DVD and a double pass to the show to give away.

T H E D R U M M E D I A I S S U E 1 0 8 7 T U E S D AY 2 2 N D N O V E M B E R 2 0 1 1

DRUM MEDIA

ZOMBIE DOG AND ACCESS ALL ERAS PRESENTS"

STREET LEVEL BAR:

Though luckily, not literally! Saturday night, the Gaelic hosts the launch of the new live EP from Red Fire Red, who are joined by UK guests The Lost Souls Club along with The Bedlams and Fox Valley, and more, and we have three double passes to the show to give away. Winners will score some Red Fire Red merch on arrival.

FOR MORE GIVEAWAYS THIS WEEK HEAD TO FACEBOOK.COM/DRUMMEDIA AND CLICK ON THE GIVEAWAYS TAB.

PLUS SILENT AUCTION FEATURING ARTWORKS & PHOTOGRAPHS BY: REX HAVOC (AWAKE UP GROUP), RUSSELL CAREY, EMELIA SIMCOX, DAVID QUOY, KATHE PAYNE, CHANTEL BANN ***DOORS OPEN 7:00PM*** FREE

STREET LEVEL BAR:

Strange Talk to fill the gaping void.” Their self-titled debut EP is out now and they’re coming to the Oxford Art Factory Friday, supported by Zowie, to showcase it and more and we have three double passes to the show to give away.

GUINEAFOWL

Giveaways – Look to your left for free stuff, silly! The Front Line hits hard with industry fact and conjecture, plus Backlash and Frontlash. Foreword Line – the latest news on tours, releases and more. We predict the winners of this year’s ARIA Awards. The Wiggles are finally getting their dues as they’re inducted into the ARIA Hall Of Fame. We look back at Aussie princess of pop Kylie Minogue’s career that led to her ARIA Hall Of Fame induction. Portugal The Man will throw a brick through a window if they have to be punk. Where does Fucked Up go from a concept record? A quadruple live record’s the logical progression of course. Matt Corby likes getting up close and personal with his fans. The Triffids are playing the only way that they know how. Jedi Mind Tricks are out to prove that losing a band member won’t hold them back. Powderfinger delve into the story of Australia’s best loved band in their biography. HTRK have created a really sexy album. Being despondent and melancholy is not a bad thing for Kobra Kai. Daedelus talks everything from folk to breakbeat. Newcastle hip hop trio The Last Kinection battle adversity to release their second album. The Bride are a mash of all good musical genres. In their heads, Heaven The Axe rock out like crazy people on acoustic guitars. Nikko get a breath of fresh air by moving down the East Coast. Fierce fashionista Lucy Love is part of a new breed of pop star to Stereosonic. On The Record reviews new release albums and singles from Drake, Atlas Sound, Royal Headache and more. Chris Maric gets local with hard rock and metal in The Heavy Shit. Sarah Petchell brings us local and

CREDITS

22 24 26 32 33 34 36 37 38 38 38 43 44 44 44 44 46 46 46 46 48 50

PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Mark Neilsen ASSOCIATE EDITORS Michael Smith, Scott Fitzsimons FRONT ROW EDITOR Daniel Crichton-Rouse frontrow@drummedia.com.au CONTRIBUTING EDITOR Adam Curley CONTRIBUTORS Aarom Wilson, Adam Wilding, Alex Hardy, Amber McCormick, Anita Connors, Anthony Carew, Ben Preece, Bethany Small, Brad Barrett, Brendan Crabb, Brent Balinski, Bryget Chrisfield, Bob Baker Fish, Chris Familton, Chris Maric, Christine Caruana, Craig Pearce, Cyclone, Dan Condon, Danielle O’Donohue, Dave Drayton, Fiona Cameron, Giselle Nguyen, Gloria Lewis, Guy Davis, Huwston, Ian Barr, Jake Millar, Jamelle Wells, James d’Apice, James Dawson, James McGalliard, Justin Grey, Katie Benson, Kris Swales, Liz Galinovic, Liz Giuffre, Lucia Osborne-Crowley, Mark Hebblewhite, Matt O’Neill, Paul Smith, Paz, Pedro Manoy, Rip Nicholson, Rob Townsend, Robbie Lowe, Ross Clelland, Rod Hunt, Sarah Petchell, Sasha Perera, Sebastian Skeet, Sevana Ohandjanian, Shane O’Donohue, Steve Bell, Stuart Evans, Tim Finney, Tom Hawking, Troy Mutton PHOTOGRAPHERS Angela Padovan, Carine Thevenau, Chaz Webb, Cybele Malinowski, Josh Groom, Justin Malinowski, Kane Hibberd, Linda Heller-Salvador, Luke Eaton, Rod Hunt, Tony Mott

themusic.com.au

international punk news in Wake The Dead. 50 Adam Curley muses on all things pop culture The Breakdown. 52 Viktor Krum asks you to Get It Together with the latest in hip hop. 52 Dave Drayton gets Young & Restless with all ages goings on. 52 Cyclone gives you urban and R&B news in OG Flavas. 52 Dan Condon features the world of blues and roots with Roots Down. 53 Michael Smith delivers some Blow with jazz and world music news. 53 Go south as you enter Pedro Manoy’s Swamp Shack. 53 We get the latest updates from our local industry and beyond from the good folks at MusicNSW. 54 It’s business time in the club world as Paz gives us Business Music. 54

FRONT ROW

This Week In Arts plans your upcoming calendar; Art Gallery of NSW director Edmund Capon explains the prowess of Picasso; Cat Jones and the PACT Ensemble beguile audiences. 56 Al Jean sheds some light on showrunning The Simpsons; artist William Mansfield recreates the Grand Canyon with Grand Chasm; Cultural Cringe wraps up the week’s arts news and whispers. 57 Director Sarah Giles puts contemporary narcissism under the lens; filmmaker Adam Rosenberg captures the inner west for Bondi Film Fest; Film, This Is Not A Film and theatre production Posts In The Paddock are reviewed. 58

LIVE

It’s all here: gig reviews, tour guide, what’s happening this week, charts, gig guide, random shit and Boom! Bap! Pow! throw this crazy shape into the whole scope of their set while JD Love writes of the archetypes that come from mythology. 61 Backstage and BTL – your guide to studios, recording, gear, courses and more. 75 The Classies – need a singer/bassist/drummer/any other service/product you can think of? Your answer is here. And on iflog.com.au. 77

ADVERTISING DEPT sales@drummedia.com.au Brett Dayman, James Seeney, Andrew Lilley CLASSIFIEDS iflog.com.au ART DEPT artwork@drummedia.com.au Dave Harvey COVER DESIGN Dave Harvey ACCOUNTS DEPT accounts@streetpress.com.au GIVEAWAYS/GIG GUIDE Justine Lynch THE DRIVERS Grant, David, Julian, Ray, Paul, Al, Mark PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@drummedia.com.au SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, The Drum Media, PO Box 2440 Strawberry Hills NSW 2012 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS Postal: PO Box 2440 Strawberry Hills NSW 2012 Street: Level 1/142 Chalmers St Surry Hills NSW 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@drummedia.com.au www.themusic.com.au The Drum Media is also available on iPad via the iTunes App Store


THE DRUM MEDIA • 23


the

frontline Trevor Horn pic: Dan Wilton/Red Bull Content Pool

BULLS ON PARADE The second term of the 14th annual Red Bull Music Academy is currently underway in Madrid, with 31 participants from almost as many countries – including Melbourne producer Phoebe Kiddo, born Phoebe Faulkner – on the ground taking in lectures from music luminaries by day before variously hitting the studio with their peers and performing in the nightspots of the Spanish capital by night. While for the soonto-be graduates the prospect of jamming and collaborating with their peers is the ultimate end goal, for music lovers the daily lectures are music trivia geek heaven. Chic main man Nile Rodgers, who performed with the current incarnation of his legendary act on the opening night of term two and expertly linked several generations of his band’s output with who they’ve influenced (Good Times incorporating verses from Rapper’s Delight for example), told enough anecdotes the following day to fill a book – fitting, since he’s just written one. Writing Sister Sledge’s We Are Family before even meeting the group, using a photo of Little Richard as the inspiration for David Bowie’s Let’s Dance and backing Screamin’ Jay Hawkins on his first day as in-house guitarist at Harlem’s Apollo are just three of the tall tales recalled with wit and incredible attention to detail. Buggles/Yes alumnus Trevor Horn also has a memory that runs deep, though his output is so prolific that even he struggled to recall some of the more obscure sessions he’d worked on – still, the behind-thescenes machinations of working with Malcolm McLaren, Frankie Goes To Hollywood and Grace Jones defy description, as does advice on how to get the best out of vocalists in the studio (hint: sweet little lies are apparently acceptable). But ultimately it’s all about the music and this year’s mix of participants have every angle covered – from deep disco to ambient soundscapes, from tropical to math rock and beyond. On night three, Australia’s Faulkner performed her own cut-up future beat creations and the work of some fellow participants at a showcase gig in a performance space located above a supermarket and opposite a tapas food court and when The Front Line departed the RBMA space (built from scratch inside an old abattoir) on night four, Faulkner and Californian producer Anenon were already beginning to work some collaborative magic of their own. It’s difficult for even an independent observer to not get sucked into such a musical paradise, a nirvana where the only compulsory activity is to absorb musical knowledge and then create. A million gigs couldn’t impart the wisdom acquired in four days in Madrid and forwardthinking music lovers will be the real winners when these graduates finally drop their own knowledge on the clubs and venues of the world. The Front Line attended Red Bull Music Academy 2011 as a guest of Red Bull. A full feature on the RBMA Madrid experience will run in the December 2011 issue of Three Magazine.

I N D U S T R Y N E W S W I T H S C OTT FIT Z S I M ON S f r o n t l i n e @ s t r e e t p r e s s . c o m . a u

THE HI-FI ANNOUNCES THIRD EAST COAST VENUE

the music… [there was] a real respect for the craft.” The night also saw a moving performance by Sarah Blasko of the track, The Missing Key, which won Best Original Song.

The Hi-Fi have announced that they will be opening a Sydney venue in February, which will give them an east coast run given their existing rooms in Melbourne (opened 15 years ago) and Brisbane (opened two years ago). They have taken over the currently inactive Forum in Moore Park’s Entertainment Quarter and will be refurbishing and rebranding the room prior to its launch. Hi-Fi founder and chief Luke O’Sullivan told Your Daily SPA, “We’ve been looking to enter into Sydney for seven or eight years and we’ve been looking at The Forum for the last two or three years. We started evaluating the building two years ago.” He chose The Forum because of its “footprint – the actual size of the building”. Looking for a capacity of 1,000 to 1,200, “We couldn’t find buildings in Sydney that could handle that many people… All the existing infrastructure, the stage, the loading dock, the band rooms, toilets, the air conditioning were appealing to us, as was the location… We’re gutting it except for that crucial infrastructure.” Originally built with a nightclub focus, out of the three levels the second will be removed and the top level partly removed, while all that will essentially remain is the stage, toilets and air conditioning. Already taking bookings for Brisbane – Sydney – Melbourne tours, O’Sullivan believes it will be a very attractive proposition to promoters to streamline their dealings and paperwork and also foster competition in the Sydney market. He said, “The only other venue [of that size in Sydney] is the Metro, which is a great venue and I love seeing bands there. I think it will be healthy for competition with our entry. In Melbourne we’ve [similar capacity venues] The Hi-Fi, Prince and The Corner and we all have a market share and we all make livings.”

SANDO FOR SALE AT $3.35M Up for auction last Thursday, Newtown’s Sandringham Hotel was passed in and has now been put up for sale for $3,350,000. The iconic King St venue is likely to undergo a change of ownership in the near future, but it is expected and hoped that live music there will continue. When news of the auction broke, current venue manager Tony Townsend told The Front Line, “We have a lease agreement with the current owner of the building who is selling the building/land. It’s that simple, no tricks. There is the possibility however that the new owners may decide to redevelop the property and in that case we would be forced to find another building. That would be sad.” Kelly & Sons real estate are looking after the sale and it is once again being promoted as a “sensational re-development or investment opportunity” and a “definite sale” is “required”.

MESS HALL, CUSTARD, WIN SCREEN MUSIC AWARDS The Mess Hall’s Jed Kurzel and Custard’s Dave McCormack picked up awards at last week’s Screen Music Awards. Guitarist/vocalist Kurzel won the main award with Best Score For A Feature Film going to his compositions for Snowtown, his first attempt at a film score. McCormack, along with Michael Lira and Antony Partos, won Best Music For A Television Series Or Serial for their work on Rake. Beating other nominees The Legend Of The Guardians, Mad Bastards and The Way Back, Kurzel told Your Daily SPA, “I was quite shocked when they read my name out. It’s a different kind of soundtrack to the others… I think for me the performances were so great in the film that they didn’t need any help from the music. So the music could play a role in tone and become a character in the film.” Admitting that he had “a few nightmares” while composing the score, Kurzel started working on it when the film’s editing started. Swapping edits and pieces of music, they would both “affect and shape one another”. Of the awards, held at Sydney’s Recital Hall, he said “It felt like it was about

AMY MEREDITH SPLIT WITH SONY Amy Meredith have split with their label Sony for the release of their upcoming second album, while the internationally-looking band has also signed a new U.S. management deal with powerhouse company Vector, which will see them co-managed in that market with existing representation Matt Emsell. The band’s vocalist Christian Russo told Your Daily SPA, “We came to the end of the road with Sony, where we had the option to do our second album with them. [It was] amicable, but it’s the best decision for us as a band. With a label there’s an element of priority and you have to work the ranks… I found that all that time that we spent trying to get the company to push, we could have been doing it ourselves from the start… [The move] lets us be the band we were when we started this.” Despite there being “Interest from labels immediately and people that wanted to talk about a deal, we’d already spent a bunch of our money on going overseas and basically had an album in the bag that we’d self-funded.” They’ll be putting the finishing touches on their new album in Los Angeles in January.

LOCAL ACTS MAKE SXSW CUT Oh Mercy and Lanie Lane are the latest Australian acts to be invited to next year’s SxSW conference in Texas, as the final invitees are notified of their successful application. There are currently 18 Australian and eight New Zealand artists that have been invited, with another 30 or so expected. Those named already were early appliers for spots. Invited so far are, from Australia, Oh Mercy, Little Red, Gotye, Big Scary, The Black Ryder, The Art, Lanie Lane, The Vasco Era, Emma Louise, Electric Jellyfish, The Chevelles, Bliss N Eso, Kimbra, Dead Letter Circus, Pets With Pets, The Grates, Sparkadia and Grace Woodroofe, while from New Zealand, Tim Finn, Force Fields, Electric Wire Hustle, Cut Off Your Hands, Popstrangers, Cairo Knife Fight and Avalanche City.

ED SHEERAN MAKES AUSSIE RUN The ARIA album charts retained their status quo this week, with nothing able to debut in the top ten. Disturbed’s The Lost Children managed 12, Tim Freedman’s Australian Idle 19, Bluejuice’s Company 23, Glee Cast’s The Christmas Album Volume 2 28 and Seal’s Soul 2 at 42. The big mover was new UK star Ed Sheeran, who shot to eight from 21 with +. Susan Boyle stays top with Someone To Watch Over Me.

OZ ARTIST DOWN TO FOUR 360, Guy Sebastian, New Empire and Short Stack have been announced as the top four finalists for Channel [V]’s Oz Artist Of The Year Award, with voting now open at vmusic.com.au. There are three weeks to vote, with the winner to be announced Saturday 10 December.

ART MUSIC ENTRIES CLOSING SOON Nominations for the 2012 Art Music Awards close Friday 9 December, with the online entry form available at australianmusiccentre.com.au/awards/ nomination. Categories include work of the year for orchestral, instrumental, vocal and jazz.

In the lead-up to this weekend’s ARIA Awards, ARIA have posted the full hour-long footage of the first 1987 award ceremony on YouTube. Untelevised and previously unseen by the public, the Elton John-hosted event has been considered one of the Awards’ best by those who were there. With a few interesting moments (Kevin Bloody Wilson having a go at those who accuse him of racism and an emotional speech from Coloured Stone) the best quotes came from the host himself. Sir Elton says onstage, “The only reason I agreed to do this is because it’s not going to be on television and, in the future years, if you keep it like that I think it means something more because I think it’s much more personal… besides the fact you have former drag queens like me trying to hog the limelight. I don’t know how ‘former’ either. But I’ve gone blonde and they have more fun. So anyone available tonight: Sebel Townhouse.” They’ll be posting footage from the 1997 and 2007 events this week. ARIA also recently announced the final performers for the 25th anniversary event, this Sunday at Sydney’s Allphones Arena, with The Living End, Guy Sebastian and Missy Higgins to perform. Delta Goodrem, Adam Hills, Molly Meldrum, Katie Noonan, Iva Davies, Tom & Alex, Ricki-Lee, Erin McNaught and James Mathison will present awards.

JOHNS AND CHENEY DO IT FOR DOGS Silverchair’s Daniel Johns and The Living End’s Chris Cheney are working together to raise awareness for World Society for the Protection of Animals’ Collars Not Cruelty street dog appeal. Both have signed an Epiphone Les Paul Studio guitar – donated by the Gibson Foundation – to be awarded to a competition winner. Visit wspa.org.au for more info.

GOOGLE MUSIC: TOO LITTLE, TOO LATE? Google officially launched their music store Google Music last week. Currently only available in the US, the muchrumoured Android platform will allow users to upload 20,000 onto the cloud to then be organised into playlsits and shared with friends – especially through Google’s Facebook rival Google+. Also, the store – which hasn’t yet secured a deal with Warner – will be selling songs from 69 cents US to $US1.29. Reporting on the announcement Bloomberg said the move is, “almost a decade too late to pose a threat to Apple Inc., the largest seller of songs on the web.” While Mike McGuire, an analyst at industry research firm Gartner told Reuters, “They’ve got to get that catalogue filled pretty quickly. It’s a launch, but it’s kind of like a workin-progress.” No Australian launch date has been set.

Frontlash

BACKLASH

Oh lordy, all the Laneway and Big Day Out sideshows are coming out, the first Sidewave emerged too… Looks like our social life is already planned for about a month straight from late January already.

Oh lordy, all the Laneway and Big Day Out sideshows are coming out, the first Sidewave emerged too… Looks like our credit card is going to take a beating in the near future.

SIDESHOWS AHOY

PAT CUMMINS

The only shining light in Australia’s abysmal test display.

music 24 • DRUM MEDIA

ARIA RELEASE ‘LOST’ FOOTAGE, ANNOUNCE LAST PERFORMERS

themusic.com.au

BANK ACCOUNTS

KING KYLE

Who gave this man a TV show and why? We were enjoying his absence from our screens.


THE DRUM MEDIA • 25


FOREWORD LINE

NEWS FROM THE FRONT

TOUR NEWS HENRY ROLLINS GUTTERMOUTH

MARCHING ON STEP PANTHER Dubbed Symphonica, George Michael has announced he will tour Australia through March/April next year, including both arena and winery concerts with a 40-piece orchestra, but as yet, no information on venues or exact dates has been released.

Henry Rollins returns to Australia for The Long March tour, a month long national odyssey that’s in stark contrast to his last visit here earlier this year featuring only intimate appearances in Sydney and Melbourne. He does his spoken word thing Tuesday 24 April at Newcastle Panthers, Wednesday 25 and Thursday 26 April at the York Theatre, Seymour Centre, Sunday 6 May at The Street Theatre and Tuesday 8 at Illawarra Performing Arts Centre. Tickets go on sale Monday.

Hands Like Houses with be opening for The Getaway Plan at the Metro Friday and the UC Refectory in Canberra Sunday, while The Cavalcade do the honours Saturday at the Cambridge Hotel in Newcastle.

BACK IN THE GUTTER

After a lengthy Australian tour in 2010, Californian punks Guttermouth are returning to do an extended tour of Australia. In January they will drive all the way up the east coast – starting in Geelong and making the journey up to far north Queensland before taking off to Japan and Europe, making this their biggest tour in their history. In Drum parts they play Saturday 21 January at The Gaelic, Sunday 22 at the Beachcomber, Tuesday 24 at The Patch, Wednesday 25 at Caringbah Bizzo’s and Thursday 26 at the Cambridge Hotel.

WOODEN SHJIPS

NEW YEARS BUNGALOW

GOT WOOD

While indebted to both the psych music of the ‘60s and mid-‘70s, electric Neil Young and even the induced travels of Spacemen 3, the Wooden Shjips’ music is modern and in every way their own. They recently released their album West and are returning to Australia off the back of it. The San Francisco psychedelic adventurists play Saturday 24 March at Oxford Art Factory. HARD ONS The Hard-Ons and Epics will be joining allstar Californian hardcore four-piece OFF! Wednesday 7 December at the Annandale. Sydney obviously loves Sweden’s Roxette because a third and final Sydney Entertainment Centre concert has been announced for Saturday 25 February after their two previously announced concerts each sold in half an hour. Fresh off a tour of the UK and Europe supporting Elbow, Howling Bells head back home for their own Loudest Engine national tour, which hits the ANU Bar Canberra Thursday 8 December, Level One Leagues Club in Newcastle Friday 9, The Standard Saturday 10 and The Patch in Wollongong Sunday 11, with Step-Panther and Steve Smyth supporting throughout.

GZA

SIZZLE AND SHUFFLE

Bluejuice are calling their 2012 tour “Sizzling”, no doubt a description of their fine stage presence as much as the likely atmos and sounds. It’s a shameless excuse to plug album number three, Company, as well as some of their best video work to date (if you haven’t seen Act Yr Age then do so at your own risk, it’s great, but does contain some mild old lady pashing). The boys have also been placed on BDO duty for the big cities as well but if big crowds aren’t your bag, catch them at some fine establishments up and down the coast including The Entrance Leagues on Thursday 5 January and Panthers Newcastle Friday 6.

LET’S HEAR IT FOR NEW YORK

The New York’s Finest Tour will do just that in regards to hip hop – showcasing some of the underground talent from the Big Apple. With a line-up consisting of GZA (Wu-Tang) performing the classic album Liquid Swords, Pharoahe Monch, Jean Grae and Rahzel & DJ JS-1, you can catch them all Saturday 7 January at The Metro. Jean Grae meanwhile will do a solo show too on Wednesday 4 at Goodgod.

With special guest fellow Irish artist Sharon Corr, Ronan Keating gets out from behind The X Factor desk to tour the nation, kicking off at the State Theatre Thursday 26 January, then Thursday 9 February they play the Royal Theatre Canberra, Friday 10 it’s WIN Entertainment Centre in Wollongong and Saturday 11 Newcastle Entertainment Centre. Both out here for Laneway in February, the LA-based EMA (Erika M. Anderson) and her band have been invited to open for London’s Yuck when they play their sideshows that, in Sydney, sees them in the Oxford Art Factory Thursday 9. Also coming out for Laneway, New York City duo Chairlift release their new album, Something, Friday 20 January. Fresh out of Fremantle, indie folk six-piece The Morning Night head across the continent Friday 2 December to introduce themselves at the Phoenix Bar, Darlinghurst. Their debut album, Country Proud, isn’t due out till Friday 16 March, but the title track is out now and country duo McAlister Kemp are taking it for a quick spin, playing the Blue Mountains Country Jam at the Carrington in Katoomba Saturday 7 January, before launching the album over the CMC Rocks The Hunter weekend Friday 16 through Sunday 18 March in the Hunter Valley.

26 • THE DRUM MEDIA

Bungalow 8 and theloft are aiming for a New Years carnival this year for ‘Bungapalooza Carnival’, with live circus acts, carnie games, a big top, sideshow alley and, of course, fairy floss. For those who want something a bit more refined, the organisers have also got Moet and Chandon together to help arrange a 1920s themed, ‘A night at the Savoy’. Providing the soundtrack will be soul sensation Grover performing live (the singer, not the Muppet), plus DJs Pete Dolso and Kirsty Lee. As well, international burlesque performer Rachel St James will also be performing her signature champagne glass routine (it will be up to you, dear punter, to help empty some for her, perhaps).

STONE COLD EAST

The Hello Morning have just announced an East Coast leg of their Stone Cold Lover tour (after the single of the same name). Hitting Sydney on Wednesday 30 November for an Annandale Hotel show, they then cross the harbour for two dates at the Manly Boatshed (Thursday 1 and Saturday 3 December), then the Great Northern Newcastle Wednesday 14.

SINGING FOR HER SUPPER Bridgeton, WA player Emily Barker is playing the Supper Club on Tuesday 20 December in a pre-Christmas show to, um, show her musical gifts. Playing as Emily Barker and The Red Clay Halo, Barker, who has been in the UK for the better part of the last decade, will be leading with Billowing Sea, a song she expects will lead new audiences (and existing ones) towards the next phase of her songwriting life.

Dead Farmers and Yes, I’m Leaving will be doing the honours Thursday 8 December, opening for returning visitors Future Of The Left at the Annandale. LA five-piece Grouplove has invited Seattle six-piece The Head & The Heart to join them on their Australian tour, which brings them to The Factory Theatre Tuesday 3 January.

ENTERTING A DISPUTE

La Dispute from Grand Rapids Michigan will be bringing their music to Australian shores for the third time this February. They recently released their new album Wildlife and will be no doubt performing tracks from that and more live when they play Friday 10 and Saturday 11 February at the Annandale Hotel (the latter is all ages), as well as Monday 13 at The Basement Canberra. Tickets go on sale Friday.

UK winners of Best Alternative Act at the Exposure Music Awards, The Lost Souls Club join locals Red Fire Red, who are launching their new live EP Saturday night at the Gaelic. Topnovil and The Scam are the evening’s guests when Americans The Casualties blitz the Manning Bar Friday 2 December.

LA DISPUTE

IMMORTAL TECHNIQUE

GETTIN’ POLITICAL

Rapper, political commentator and activist Immortal Technique has announced his first Antipodean tour for January 2012. Described as “a cross between Che Guevara, Chuck D and Fela Kuti”, Immortal Technique has most recently been involved in the Occupy movement, although his quest to fight the good fight has been applied to lots of causes over his career to date including debates over race, religion and class. His show hits Sydney on Thursday 19 January at The Metro and Technique will be joined on stage by partners-in-rhyme, label mate Akir (Always Keep it Real), a producer and songwriter known for his complex lyrics and social-political content; plus Brooklyn born and raised Poison Pen, who is one of the founding members of the rap indie clique Stronghold.

FIVE HOURS

New Years Day Night 2012 is going to be a big bang, with One Night Only planned at The Metro. And that’s not just because Day Night sounds funny. On the cards is a five (yes, five) hour set from Sasha, along with Radio Slave and In Flagranti, providing part marathon, part musical nirvana. Called “The DJ’s DJ” Sasha has got himself quite a reputation and the New Years Day Night show is on sale on Wednesday.

THE GAME

WE GOT GAME

Californian Jayceon Terrell Taylor, aka Game, is heading to Australia in February to show off The R.E.D Album as well as his wider back catalogue. After playing Supafest in April it’s been only timing that’s stopped him getting back to us sooner, such was the local love for the hip hopper. He plays The Enmore on Friday 17 February, with tickets on sale on Thursday 1 December.

NEW APARTMENTS, BABY

Returning to Sydney stages for the first time since 2007, The Apartments are launching a new single on Friday 9 December at The Factory. The single, Black Ribbons, will be a vinyl release – a proper old school approach to get you spinning right round – and the first offering in a long time from the band. Written by their backbone Peter Milton Walsh, the sole constant in the Apartments since the band formed in Brisbane in 1978, Black Ribbons is a rare piece of Apartments fare, but also an increasingly rare step into the sun for Walsh, who has increasingly stepped out of the game over the years. Walsh and the band have played more recently in Europe (particularly France), but this is a welcome homecoming.

themusic.com.au

FLAPPING AROUND

With a 1920s meets 1950s meets 2000s in cowboy boots, Flap! are hard to describe but easy to dance to. The Melbournians are gearing up for their second release next year, but in the meantime are offering new single Rock In Space and a mini tour to support it, taking in Sydney at The Camelot Lounge on Saturday 17 December.

BRINGING THE BLING

Oliver $ is heading to Australia early next month, with shows in most capital cities including a date on Saturday 3 December at the World Bar and Friday 9 at Trinity. The Berliner has become hot property indeed over the last few years, with this year’s Doing Ya Thang making waves in all the right rock pools.

FRITZ BLITZ

Fritz Kalkbrenner is coming to Chinese Laundry on Saturday 17 December as part of a world tour for his first album Here Today Gone Tomorrow. First entering the game as a vocalist to help brother Paul Kalkbrenner, he’s now described as a techno artist in his own right, recruiting help from his brother again here, as well as Booka Shade, Sasha Funke and Henrik Schwarz for his longplayer.


THE DRUM MEDIA • 27


FOREWORD LINE

NEWS FROM THE FRONT

M A R L E Y GIRL TALK

JUDY COLLINS

KASABIAN

GIAN SLATER

STEEL PANTHER

GEMMA RAY

ROYKSOPP

THE SPECIALS

NOEL GALLAGHER

BUSH

CAVALERA CONSPIRACY

CSS

BIG DAY OUT SIDES

Just announced are a whole bunch of Big Day Out sideshows, with all on sale Monday. On the list for the January shows are Noel Gallagher’s High Flying Birds (Monday 23 at the Enmore Theatre), Kasabian (Tuesday 24 Hordern Pavilion), My Chemical Romance (Friday 27 Hordern Pavilion), Odd Future (Tuesday 24 Enmore Theatre), Cage The Elephant (Saturday 28 Oxford Art Factory), Royksopp (Friday 27 Enmore Theatre), Girl Talk (Saturday 28 Enmore Theatre), Mariachi El Bronx (Wednesday 25 Metro Theatre), Battles (Monday 23 Metro Theatre), Foster The People (Wednesday 25 Enmore Theatre), Das Racist (Wednesday 25 Oxford Art Factory), Kitty, Daisy & Lewis (Tuesday 24 Metro Theatre), Best Coast (Wednesday 25 Manning Bar) and finally Cavalera Conspiracy (Tuesday 24 Newcastle Panthers, Friday 27 ANU Bar and Saturday 28 The Metro).

CSS MUSIC FACTORY

CSS are a Sao Paulo band whose name is an abbreviation of the phrase ‘Cansei de Ser Sexy’, and indeed, they are sexy indeed. Having earned a large international following since their 2005 eponymous debut and their latest offering, La Liberación, they have made their name with electro-rock dancefloor tunes like Hits Me Like A Rock. They have just announced an Australian headline show on Tuesday 3 January at The Standard and will no doubt add a welcome piece of international flare for the summer following shows for Falls and Southbound.

EXTRA GROUPLOVE PARTNER

Already here for Falls and Southbound, Grouplove have just announced that their sideshows will now also feature Seattle’s The Head & The Heart, taking in the Factory Theatre for their all ages show on Tuesday 3 January among others.

MORE LANEWAY SIDES

We announced a whole bunch last week, but still there were more to come. The Horrors have announced and started to sell tix for their Laneway sideshows, including rocking it at The Metro on Thursday 2 February. SBTRKT will play live at The Metro on Friday 3, joined onstage by special guest and album contributor Sampha. Also jumping off from the Laneway bandwagon are Girls, with the San Fran poppers playing Thursday 2 at Oxford Art Factory. The Laneway shows are Austra’s first for Australia, but the Canadian foursome have decided to make a bit of a time of it, now also playing The Basement in Sydney on Thursday 9.

28 • THE DRUM MEDIA

2012 IN THE MOUNTAINS

The Blue Mountains Music Festival is about to be just 17, do you know what we mean? For starters it means you can start planning a sneaky trip for the new year already, with the first announcement of artists including Judy Collins (who has sung with Joni Mitchell and Leonard Cohen as well as making her name as a lead with Send In The Clowns in 1975), Abigail Washburn (USA), Pierre Bensusan (France), Eric Bibb (USA), Staffan Astner (Sweden), Krystle Warren (USA), Ben Sollee (USA), Eddi Reader (Scotland), April Verch (Canada), Noriana Kennedy (Ireland), Truckstop Honeymoon (USA), Peter Rowan Bluegrass Band (USA), The Beez (Germany), Frigg (Finland), Beoga (Ireland), ahab (UK), Afro Mandinko, The Buddy Knox Blues Band, Alwan and The Quarry Mountain Dead Rats, Blue King Brown, Fred Smith, Fiona Boyes, Rescue Ships, Claude Hay, George Kamikawa and Noriko Tadano and more. Early bird tickets for the full weekend, Friday 16 – Sunday 18 March, are on sale now until 31 December.

GET REBELLIOUS

Awesome little Port Mac trio The Dirty Little Rebels have just been announced as the Unearthed winners to take a place at Festival Of The Sun. The locals won’t have far to go as the festival plays their home town, but it was far from any home ground advantage that got them over the line. Even more impressive is that The Dirty Little ones are actually still quite little, with two still at school. However they’ll have absolute bragging rights in the playground after they share a stage with bands like Art Vs Science, Ladyhawke, Hungry Kids Of Hungry and Dan Sultan.

THIRD AND FINAL FOR SOUNDWAVE

Without further ado, Soundwave are leading their final lineup announcement with Bush. The band will no doubt be playing new song, The Sound Of Winter (not so fab for southern hemisphere timing, but so it goes) and getting them remains a big deal indeed. In addition to Bush the final additions are In Flames, The Black Dahlia Murder, Holy Grail, Hyro Da Hero, These Kids Wear Crowns, In This Moment, Black Tide, Kids In Glass Houses, Fireworks, Conditions and Cherri Bomb.

BLUESFEST ANNOUNCEMENT PART TWO

Leading the second announcement for Bluesfest are Crosby, Stills & Nash, as well The Specials, Lucinda Williams, John Hiatt, Donovan, Angelique Kidjo, Seasick Steve, Keb Mo, Nick Lowe, Rosie

Ledet, Seth Lakeman, Harry Manx, Fabulous Thunderbirds and Alabama 3. This adds to the huge, Roger Daltrey-led Easter blues goodness already in circulation for the 23rd annual event.

SPECIALS ON THE SIDE

In addition to their Bluesfest appearance, The Specials have just released a run of sideshows. Playing The Enmore Theatre on Saturday 7 April, the band, who are 30ish years young, continue to live and breathe a ska sound as it’s come and gone for others around the traps. Get yourself a seat if you wanna just watch the lineup, or polish up those dancing shoes if you really wanna get amongst it.

BRIDGE AND STEEL

in addition to his previously announced (and sold out) Meredith sideshow at Oxford Art Factory. Bringing his band The Violators with him for the first time (the first time to us, anyway), he is peddling his latest in particular, Smoke Ring for My Halo.

NEW ROOTS

Sydney’s newest venue, The Hi Fi (once The Forum), is hosting Roots Manuva, Dizz1 and some other special (as yet to be announced) guests on Thursday 8 March. With tickets on sale Thursday, it’s a chance to see Manuva with a full band and with a decade’s plus worth of material.

78 MORE FOR PEATS

Soundwavers Alter Bridge and Steel Panther are sneaking out and doing a double-headed Sidewave called a “double bill of debauchery” by those paid to make the words about the musicians who make the words to music. Tickets are on sale this Friday, with the show hitting the Enmore Theatre on Tuesday 28 February.

The Peats Ridge Festival has announced a final 78 acts to round off their music lineup, with a massive 140 total acts over the three-day festival over New Year’s. Acts announced include internationals Youri Blow (France) and Gemma Ray (UK), along with a heap of locals such as Elizabeth Rose, The Paper Kites, Fantine, Israel Cannan, Toucan, Loopsnake Foreigndub, Monk Fly and many more.

MACLEAN STICKS AROUND

GET INTO THE GROOVE

After the Woodford Folk Fest, it seems Scottish singer/songwriter Dougie Maclean is gonna stick around. He’s just announced a show at The Clarendon in Katoomba for Saturday 7 January, as well as being added to the lineup for the Illawarra Folk Festival a bit later, weekend 14-15 January.

CANADIAN BLONDE

Here for Peats Ridge and No Years Festivals, Canadians Yukon Blonde have announced a show at the Kings Cross Hotel for Thursday 5 January and a new EP to get Australians on board. Called Fire/ Water, the disc offers sweet harmonies, ‘summer’ melodies (whatever that means) and a preview of what will be cool in 2012. It’s the first time they’ve done the big trip Down Under so get out the good china and let’s make ‘em welcome, eh?

HELP GETTING OFF!

The supports for the Off! Australian tour have been announced, drawing local legends and soon to be legends to help them on their way. In addition to their work at Meredith, Off! will appear with The Hard-Ons and Epics at The Annandale on Wednesday 7 December.

Now in its third year, the annual Jazzgroove Summer Festival is expanding to embrace a variety of new venues and a more centralised location in Surry Hills. The 2012 festival will feature club shows, pub shows, workshops, kids concerts and a free outdoor acoustic concert in Prince Alfred Park, with a festival gala night at the Tom Mann Theatre. The various venues include Venue 505, The Gaelic Club, the Clarendon Hotel, the Old 505 Theatre and Redfern Town Hall. Both young and established Australian jazz talent will feature including the Gian Slater Trio with Christopher Hale and Nathan Slater, the Coffin Brothers, the James Muller Trio with Ben Vanderwal, The Cooking Club, Adam Ponting, The MFW, the Chuck Yates Trio and many more.

TO THE SEE

Having already announced a Sugar Mountain festival sideshow Thursday 19 January at the Annandale, rock’n’rollers Thee Oh Sees have announced another show the night before, Wednesday 18 at the Terrace Newcastle.

AN EXTRA CHANCE TO CATCH KURT American songwriter Kurt Vile has added an extra show at the Red Rattler on Wednesday 7 December,

themusic.com.au

WWW.SUMMERFESTIVALGUIDE.COM.AU


THE DRUM MEDIA • 29


foreword line

NEWS FROM THE FRONT

DIRTY OPERA

Australian rock stalwarts Dirty Three will be playing a special live show in the infamous Sydney Opera House. Violinist Warren Ellis, guitarist Mick Turner and drummer Jim White are renowned for their spellbinding live performances; as a three-piece their poetic and emotionally honest songs soar. The trio will showcase songs from their yet-to-be-released 2012 record along with classics in this one-off show on Wednesday 21 March at Sydney Opera House. Tickets on sale Monday.

DIRTY THREE

ALMOST A RED SHIELD APPEAL

Coming up on Thursday 22 December at The Gaelic is a gig to raise money for the Salvos’ Xmas appeal. Headlining the event is reggae act Alotta Presha, who have recently released an EP and they’re also playing Foreshore Festival. Rounding out the bill will be Howling Tongues, Children Overboard and the Vicious Dickens. Every cent made through the tickets will go to the Salvos.

IN CONTROL

Brisbane four-piece Holland are being compared to Band of Horses, City & Colour, Elbow and Badly Drawn Boy. Recently releasing their debut EP No Control, they’re undertaking an east coast tour that will see them play Thursday 15 December at the Oxford Art Factory.

GLAMMED UP

RuPaul is heading to Australia for the first time in over a decade to perform live at Glamazon on Sunday 4 March. The dance party event will be held at The Metro and will include a line up featuring a performance by the Margaritas, Wild Spirit Aerialists and DJs Jimmy Dee, Dan Murphy and Kitty Glitter, culminating in a performance of RuPaul’s best known hits by the Drag Diva herself.

GIVE YOU THE AXE

Kiwi old schoolers Axeman have taken until now and the inaugural Mrs Tapes and Polka Before The Apocalypse festivals to get over here, much to the eventual relief of the Aussie fans who’ve been living the dream for nearly 30 years. The Oz experience will feature original Axeman vocalist/guitarist Little Stevie McCabe, original drummer Stu Kawowski and Slav guitar connoisseur Dragan Stojanovic (an Axeman since 1985). Catch them in Sydney for Mrs Tapes on Thursday 15 December at Red Ratter and the next day at Black Wire Records.

HED FOR NOTHING

Californian G-Punk legends (Hed)p.e. have announced a 2012 Australian tour with their labelmate, Mushroomhead vocalist and solo artist Jeffrey Nothing. Renowned for their blend of punk, hip hop, hardcore and metal, (Hed) p.e. will be showcasing their eighth studio album Truth Rising. Jeffrey Nothing will be performing Mushroomhead tracks along with material from his new record The New Psychodalia. The Hed To Head tour will be in Sydney at Manning Bar on Friday 3 February, with special guests Recoil.

IN BRIEF Out Friday is the first album of new material in 30 years from the impossibly influential art-punk collective Magazine, titled No Thyself, as is the first solo album, Fear Of God Part 2: Let Us Pray, from one half of hip hop duo, Clipse, Pusha T, the reunion album, Gaslight, from Prince’s Family, now calling themselves fDeluxe, the new album, Urna Marra, from celebrated Indigenous singer songwriter Warren H Williams, Portuguese four-piece Buraka Som Sistema’s new one, Komba, and the UK’s One Direction’s debut, Up All Night. Meanwhile, The Widowbirds have just released debut album, Shenandoah. Tuesday 29 sees the release of a digital-only deluxe edition of the self-titled Bon Iver album featuring short films for each of the album’s ten tracks. One thousand DVDs will also be made available for giveaway if you buy the physical CD from a participating store. While the rest of the band has been rehearsing without him, Mick Jagger has been contributing guest vocals alongside Jennifer Lopez on the latest single, T.H.E. (The Hardest Ever), from Will.I.Am, out now, as is The Windy Hills’ Friend From Another Star a limited-edition physical release, accompanied by the band’s official soundtrack for the iconic Australian surf film, Searching For Michael Peterson. Florida native T-Pain releases his new album, rEVOLVEr, Friday 2 December, as do The Black Keys their El Camino album. Recorded at this year’s Bestival on the Isle of Wight off the UK south coast, The Cure: Bestival Live 2011 is two and a half hours of The Cure sprawling across two CDs that sees release Friday 9 December, while Watford, UK’s finest, Gallows release their first EP, Death Is Birth, with new frontman Wade MacNeil. Friday 20 January sees the release of the new album, Resolution, from Lamb Of God, and the new album, Evolve Or Be Extinct, from East London grime pioneer Wiley. Newcastle, UK psych pop artist Beth Jeans Houghton releases her debut album, Yours Truly, Cellophane Nose, with her band The Hooves Of Destiny, Friday 3 February, on which day the Mark Lanegan Band release their album, Blues Funeral, and The Fray their latest album, Scars & Stories. Prompted by former member Mark Nevers, who has been producing the likes of Andrew Bird and Will Oldham, songwriter and guitarist Kurt Wagner pulled together Lambchop once more and they release a new album, Mr. M, out Friday 24 February. 30 • the drum media

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THE DRUM MEDIA • 31


2011 ARIA PREDICTIONS solid albums but the field really would seem to have been staked out pretty convincingly by Boy & Bear and Drapht in this category. Who will win? Boy & Bear Who should win? Boy & Bear

BEST GROUP Nominees: Birds Of Tokyo – Wild At Heart; Boy & Bear – Moonfire; Eskimo Joe – Ghosts Of The Past; Grinderman – 2 and The Living End – The Ending Is Just The Beginning Repeating. Last year saw WA four-piece Birds Of Tokyo win the Best Rock Album award, the track that’s helped them across the line this year the third lifted off their very successful eponymous album of last year, so perhaps this is more last puff than serious possibility, keeping the name in while the next album is recorded. There are three tried and true veteran contenders up for this category, each of them previous winners, so has Boy & Bear got the right stuff to break through for a changing of the guard? The Nick Cave factor is likely to make the difference. Who will win? Grinderman Who should win? Boy & Bear

BEST FEMALE ARTIST Nominees: Adalita – Adalita; Clare Bowditch – Are You Ready Yet?; Kasey Chambers – Little Bird; Kimbra – Cameo Lover and Washington – Holy Moses. Washington won this category as well as Breakthrough Artist award last year and she was very much the “It” girl for 2010, while this year Kimbra seems to have taken up that position in the broader consciousness, especially after duetting with Gotye. As much as Adalita is loved within the industry for her years fronting Magic Dirt and has delivered a powerful solo debut, she might be perceived as still too indie rock to break through, while this is very much a breathing space single release for Bowditch. Kasey is always a hot property, but this album was released perhaps just a little too close to voting time. Who will win? Kimbra Who should win? Adalita

BEST MALE ARTIST Nominees: Drapht – The Life Of Riley; Gareth Liddiard – Strange Tourist; Geoffrey Gurrumul Yunupingu – Rrakala; Gotye – Somebody That I Used To Know (feat. Kimbra) and Josh Pyke – No One Wants A Lover. Despite riding into contention this year on this single rather than his new album, Making Mirrors, which was released after nominations closed and is therefore extremely likely to do the business in next year’s ARIAs, Gotye has to be the front runner here. Again, his international success over the past couple of years could see Gurrumul pull a rabbit out of the hat and you can never dismiss Drapht, plus both Pyke and Liddiard produced fine records. Who will win? Gotye Who should win? Gotye

IT’S THAT TIME AGAIN, AND THE 25TH ANNIVERSARY ARIA AWARDS ARE LOOKING VERY MUCH LIKE ANOTHER MUCH NEEDED CHANGING OF THE GUARD IN A LOT OF WAYS, WITH MANY OF THE HEAVY HITTERS OF PREVIOUS YEARS EITHER HAVING LEFT THE FIELD OR NOT RELEASING ANYTHING THIS PAST YEAR. ONCE AGAIN, THEN, THE DRUM MEDIA’S BRAINS TRUST HIT THE COMFY COUCHES TO PONDER WHO THEY RECKON WILL TAKE THE PRIZE ON THE DAY. SEE IF YOU AGREE. ARIA COVER PIC BY HANNAH SPENCE, ARIA FEATURE PIC BY KANE HIBBERD.

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eturning to the tried and true formula of previous years whereby all but the ARIA Artisan Award and Fine Arts categories are to be announced on the one big night back at the Allphones Arena, with the previously independent ARIA Hall of Fame Induction event rolled in, which will see Kylie Minogue and The Wiggles joining the party Sunday night. So here are our thoughts on this year’s field of contenders.

BEST INDEPENDENT RELEASE Nominees: Art Vs Science – The Experiment; Geoffrey Gurrumul Yunupingu – Rrakala; John Butler Trio – Live At Red Rocks; Tex Perkins & The Dark Horses – Tex Perkins & The Dark Horses and The Jezabels – Dark Storm. While John Butler continues to be enormously popular with a fanbase that embraces significant amounts of both sides of the Pacific, this year’s nominated album, as a live album, is by its nature more of a best of collection. Similarly, Perkins is certainly much loved but his profile across the year has been pretty fragmented, what with tours with The Dark Horses, Band Of Gold, The Cruel Sea and other incarnations. Art Vs Science made a good record but didn’t ignite the imagination, where The Jezabels certainly have, but the likeliest front runner is Geoffrey Gurrumul Yunupingu, a sentimental favourite who has been kicking major goals overseas. Who will win? Geoffrey Gurrumul Yunupingu Who should win? The Jezabels 32 • THE DRUM MEDIA

SINGLE OF THE YEAR Nominees: Birds Of Tokyo – Wild At Heart; Boy & Bear - Feeding Line; Drapht – Rapunzel; Gotye – Somebody That I Used To Know (feat. Kimbra); Guy Sebastian – Who’s That Girl (feat. Eve) and The Jezabels – Dark Storm.

BREAKTHROUGH ARTIST – SINGLE Nominees: Boy & Bear – Feeding Line; Drapht – Rapunzel; Havana Brown – We Run The Night; The Jezabels – Dark Storm and Zoe Badwi - Freefallin’. This is a really tight field of strong contenders. Again, Boy & Bear delivered a remarkably strong debut, but so too did The Jezabels, while Drapht has to be taken seriously on his current form, despite this single really hanging over from last year and topping the charts just as the festival season was getting into the swing. Havana Brown was Top Ten with this single for ages, so her potential to take out the award is also very solid, particularly the commercial FM vote, while Badwi, again, has plenty of reason to feel confident. Who will win? Havana Brown Who should win? Drapht

BREAKTHROUGH ARTIST – ALBUM Nominees: Boy & Bear – Moonfire; Drapht – The Life Of Riley; Gypsy & The Cat – Gilgamesh; Oh Mercy – Great Barrier Grief and The Middle East – I Want That You Are Always Happy. Sad to see The Middle East dropping out of the game before they’d even really started considering the strength of this album, but the fact that they decided to split will probably ensure they don’t win this award, though you can never discount the sentimental vote. Again, both Oh Mercy and Gypsy & The Cat delivered

This has to be Gotye once again, though it’s great to see The Jezabels even in contention, while, again, the commercial success both Drapht and Sebastian have had with their respective records is incontestable, but neither really have that indefinable thing Gotye seems to have been able to manifest – even the breakthrough Boy & Bear. Again, Birds Of Tokyo are probably more than happy being in the final five while they look at where they’ll take their music on the next album. Who will win? Gotye Who should win? Gotye

ALBUM OF THE YEAR Nominees: Boy & Bear – Moonfire; Cut Copy – Zonoscope; Eskimo Joe – Ghosts Of The Past; Geoffrey Gurrumul Yunupingu – Rrakala and Grinderman – 2. The big one and Boy & Bear should be glad Gotye’s album wasn’t out in time to contest Album Of The Year! While Eskimo Joe certainly returned to the fray with a solid offering, the fact that Nick Cave’s Grinderman is in there surely means that even the possible sentimental vote Gurrumul could have counted on won’t carry the day. Grinderman picked up the 2011 Mojo Award for Song of the Year for Heathen Child, so that might have counted for something among some voters. Cut Copy should be happy to have come this close. Who will win? Grinderman Who should win? Boy & Bear WHAT 2011 ARIA Awards WHEN & WHERE Sunday, Allphones Arena

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THE GENRES Of the rest of the awards in contention, here’s how we think they’ll play out:

BEST ADULT ALTERNATIVE ALBUM In an ideal world, it would be a contest between the two “newbies” Boy & Bear and Seeker Lover Keeper, though Boy & Bear would be the likely winner and we feel should be. However, Nick Cave is in there too and has such sway over the wider Australian critical psyche that it’s far more likely that Grinderman will win, despite the album not having been recorded here. Who will win? Grinderman Who should win? Boy & Bear

BEST ADULT CONTEMPORARY ALBUM Did we mention changing of the guard? And here’s John Farnham, who cleaned up 25 years ago at the first ARIAs with Whispering Jack, back again. The sentimental favourite in this year’s nominees, which include fellow veterans Colin Hay and Mark Seymour as well as Damien Leith with a tribute to Roy Orbison, would have to be the late, great Billy Thorpe with Tangiers, the album completed by engineer/producer Daniel Denholm. Who will win? Billy Thorpe Who should win? Billy Thorpe

BEST BLUES & ROOTS ALBUM While all strong records from those nominated – Backsliders, Blue King Brown, John Butler Trio, The Audreys and the welcome return of The Waifs – Blue King Brown have been making much of the local running this year. Who will win? Blue King Brown Who should win? Backsliders

BEST COUNTRY ALBUM It’s a battle between husband and wife with both Kasey Chambers and Shane Nicholson having albums nominated, so even Keith Urban hasn’t really much chance of a look in, let alone Troy Cassar-Daley or Jasmine Rae. Who will win? Kasey Chambers Who should win? Shane Nicholson

BEST DANCE RELEASE Not the strongest field in years, but while Cut Copy might not be able to mix it with the bigger names in the more general categories, this one should be a lock for them. Who will win? Cut Copy Who should win? Cut Copy

BEST HARD ROCK/HEAVY METAL ALBUM We so want to see Front End Loader win so that we hear Weeping Anus Records read out on the night and, you never know, this could be the old school’s nomination, with the ‘Loader’s Ritardando and Cosmic Psychos’ Glorius Barsteds up for grabs. Coerce has been pushing hard, but so have Floatingme and Dream On Dreamer. Who will win? Floatingme Who should win? Front End Loader

BEST POP RELEASE If there’s one incontestable category for Gotye’s Somebody That I Used To Know (feat. Kimbra), this is it. Who will win? Gotye Who should win? Gotye

BEST ROCK ALBUM It’ll be old guard rather than newbies Children Collide and Papa Vs Pretty. You can’t have an ARIAs where at least one of John Butler Trio, The Living End or Powderfinger win something and Powderfinger are out so… Who will win? The Living End Who should win? Papa Vs Pretty

BEST URBAN ALBUM The urban scene is quite close knit, so of all the nominees, you’ll probably hear the phrase “Doesn’t matter who wins, they all deserve it”. Well, we’re gonna make the call – Drapht. It might reek of a token award if he doesn’t come up trumps in the other categories he’s nominated for, but he deserves to walk away with something on the night. Who will win? Drapht Who should win? Drapht


2011 CA 2005

THE WIGGLES CIR

THE ES L G G I W FROM AN EARLY CHILDHOOD EDUCATION PROJECT TO BECOMING AUSTRALIA’S TOP-EARNING ENTERTAINERS FOUR YEARS IN A ROW, ACCORDING TO BUSINESS REVIEW WEEKLY, THE WIGGLES HAVE CERTAINLY COME A LONG WAY AND ARE NOW AS MUCH A PART OF THE NATION’S CULTURAL IDENTITY AS COLD CHISEL’S KHE SANH OR ROLF HARRIS’ WOBBLE BOARD. JEFF FATT, THE PURPLE WIGGLE, TALKS TO MICHAEL SMITH ON THE EVE OF THE WIGGLES’ INDUCTION INTO THE ARIA HALL OF FAME.

“I

t’s quite an unexpected honour. I didn’t think I was a musician,” Jeff Fatt admits, laughing. “For most of my life I’ve thought I’d make a career out of music; it was like more of a hobby.” Fatt first met Anthony Field when the latter, on lead guitar and vocals, formed an indie pop band called The Cockroaches in 1979. Formed at St Joseph’s College in Sydney suburb Hunters Hill, Fatt came in on keyboards while Field’s brothers, John and Paul, were on rhythm guitar and lead vocals respectively. “Musically, the two entities are not far from each other in that The Cockroaches were a very poppy style of band and the songs that we wrote were in that pop genre, so there’s an element of The Cockroaches embodied in a lot of the pop-type songs of The Wiggles... That style of thing, I think, is very appropriate for children in that they’re a jingle style of songwriting, capturing that repetitive style and getting to the melody and chorus pretty well straight away. The classic pop songs of the sixties embodied that style of writing. “Some of the songs The Cockroaches wrote actually morphed into Wiggles songs. We used the melody of Another Saturday Night, for instance – which was a Cockroaches song – and transformed that into the original Dorothy The Dinosaur song – with a change of lyrics of course!” Towards the end of the 1980s, Anthony Field was looking beyond music as a career and enrolled to study early childhood education at Macquarie University, to prepare for life as a preschool teacher. It was while studying there that he met Murray Cook, who’d played guitar with an assortment of indie bands, Finger Guns among them, while Greg Page had roadied for The Cockroaches and was also doing the course. As part of an assignment in which the idea of blending early education concepts with high quality children’s music, something they felt was missing at the time, the trio composed and recorded – with help from John Field and another course colleague, pianist Phillip Wilcher – what became their self-titled debut album independently for around $4,000. It was originally complete with essays explaining the educational value of each song for their course coordinator. Field invited Fatt to join what had now become a working band of sorts, The Wiggles. After some early contributions to the group, Wilcher decided to concentrate on a career in classical music. “Anthony was using the knowledge he’d got in songwriting and marrying that to what he, Murray and Greg knew about early childhood studies,” Fatt explains, “using the theory there and trying to come up with songs that were appropriate for children of that preschool age group. Anthony gave me a call towards the end of 1990 – The Cockroaches were still doing gigs and between Cockroach gigs I was renovating my house, which I quite enjoyed doing – and invited me to the studio to play on some children’s tracks. I’m pretty well laidback enough to do anything, so I obliged,

though I wanted to get it out of the way and get back to my renovations [laughs]. “The album came out and I went along with the whole charade of putting on the original garish shirt [this was pre- skivvies] for the album cover and never gave it much credence. I just thought we’d do the album and that was pretty well it. But then the evolution was, I guess, connecting with your birthday parties and preschool shows and that morphed into public shopping centre-type things. Then from there we embarked on our very first tour of regional areas and putting on shows for playgroups.” That first album, released in 1991 and distributed by ABC Music, went on to sell a healthy 100,000 copies, which suggested to the foursome that it might be worth concentrating on The Wiggles for a year to see how it developed. The first thing was to create a couple of videos and develop some of the characters that have become so much part of a Wiggles show, starting with Dorothy The Dinosaur. “We did do an original video called Get Ready To Wiggle, which was The Wiggles’ original signature song, but I think that the song that really got us into the minds of children and their parents was a song called Dorothy The Dinosaur. I mean, it was very crude and very primitive in terms of what we presented on that video, but it was a matter of children suspending their belief that this person in a cape and a Dorothy The Dinosaur mask was actually Dorothy! We placed a lot of faith

and Field, The Blue Wiggle. The band also committed itself to releasing a new album every year, though some years that’s ballooned out to three or four albums. “It’s a way of course of maintaining a public presence. I mean there are always new families with young children and you can’t always be sure that they know who The Wiggles are. But it’s also part of reinventing yourself and making it fresh and new for the public and interesting for ourselves, finding different themes and musical styles. With each album, it’s great to have a theme so it’s a case of deciding on a theme and then working the songs around that. I guess there’s no end of subjects and the challenge is to make it fun and interesting for them. Luckily we’re not stuck with any one style; we can choose any number of musical styles available, from classical to pop to rock to South American styles. We’re sort of blessed in that sense.” By 1995, The Wiggles were selling out bigger and bigger venues filled not only with enthusiastic children but also increasingly appreciative parents. They were also selling more and more albums as well as videos to accompany them. The Wiggles Movie, released just before Christmas 1997, became the fifth-highest grossing Australian film of 1998. Meanwhile, thanks to interest from Disney, The Wiggles were starting to break into the US. “That was a huge step, at the end of the nineties. We made quite a few trips to the States and at the beginning we were pretty

“It was an entrée to meeting a lot of American celebrities,” Fatt admits with a laugh. “I remember there was one show at Beacon Theatre in New York City, there was Robert De Niro, Jerry Seinfeld, Ricki Lake… They were all at the same show and it was like, ‘How bizarre is this?’” The songwriters too started not only coming along to the shows but also wanting to get involved – John Fogerty, for instance, from Creedence Clearwater Revival, while locally, Ross Wilson joined The Wiggles to reinvent Eagle Rock. “John Fogerty! That was like a huge thing, the fact that later we got him to sing on a couple of Christmas tracks [2010’s Rockin’ Santa and Ring-A-Ding-A-Ding Dong!], that was a huge thrill and he’s such a lovely guy. It was through his second marriage that he actually brought his preschool-age little girl to a show. That was our way of getting to work with our idols! Ross was the same, from him having preschool-aged children.” In March 2009, fellow 2011 ARIA Hall Of Fame inductee Kylie Minogue joined the ranks of artists flocking to collaborate with The Wiggles, performing Monkey Man as The Pink Wiggle on their Go Bananas! DVD. “She had a nephew who was into The Wiggles, so that was how she came to work with us. It’s a great way to meet and work with these people.” Along the way, The Wiggles have transformed themselves into a brand that

I WENT ALONG WITH THE WHOLE CHARADE OF PUTTING ON THE ORIGINAL GARISH SHIRT FOR THE ALBUM COVER AND NEVER GAVE IT MUCH CREDENCE. I JUST THOUGHT WE’D DO THE ALBUM AND THAT WAS PRETTY WELL IT.”

in the suspension of belief in preschoolers in this fictional character. Murray was the original Dorothy The Dinosaur and you could still see his jeans underneath the ‘costume’ with a white handbag and some roses [laughs]. The Wiggles are not just ourselves; the characters do play a huge role in what we became. I guess it was trying to find a character that would have an appeal to children. All the characters were basically born in song.” Fatt feels that it wasn’t until The Wiggles had been recording and performing as an entity for about three years that it might actually become a full-time career. By 1993, The Wiggles had become colour coded – another way that better allowed children to identify with the various members, each also exaggerating a personal trait – so Fatt became The Purple Wiggle and his ability to sleep anywhere spawned the catchphrase “Wake Up Jeff” and became the title of their 1996 album. Page became The Yellow Wiggle, Cook, The Red Wiggle

well performing carparks and video stores to half a dozen people [laughs]. But to get ourselves really known in the US, I think that was having ourselves on the Disney Channel. That was a huge milestone, to get us in front of a larger US audience. Even in Australia at the time we didn’t have a major TV presence. We’d self-financed ourselves to do a TV show, which was shown on the ABC, but no one really saw us as a viable TV show. Then Disney started showing interstitial programs on their channel – just little snippets of what The Wiggles were – and we eventually made some shows for their preschool arm and that got us into the hands of a lot of American families.” Come 2003, The Wiggles had graduated from video store carparks to playing 12 sold-out Madison Square Garden shows in New York City, with the Mayor declaring 1 November that year Wiggles Day. By now too, it wasn’t only your everyday children and parents rocking along to see them perform.

has earned them 17 gold, 12 platinum and three double-platinum albums, selling over seven million copies and 23 million DVDs. For all that, The Wiggles remain thoroughly grounded individuals committed to their work and a number of charities, for which, in 2010, the four original members were appointed members of The Order Of Australia. You know you’ve done something right, too, when the next generation of your musical peers bands together and cuts a tribute album to you. Celebrating the band’s 20th anniversary, The Living End, Washington, Jebediah, Sarah Blasko, Architecture In Helsinki, Spiderbait and more each took a song and ABC Music released them as Rewiggled a few weeks back, bringing things full circle in a sense – pop songs morphed into children’s songs morphed back again. “We were quite surprised and absolutely delighted with the results and the fact that

SELECTED ALBUM DISCOGRAPHY The Wiggles (1991) Here Comes A Song (1992) Stories And Songs: The Adventures Of Captain Feathersword The Friendly Pirate (1993) Yummy Yummy (1994) Big Red Car (1995) Wake Up Jeff (1996) Wiggly, Wiggly Christmas (1996) The Wiggles Movie Soundtrack (1997) Toot Toot! (1998) Wiggle Time (2000) It’s A Wiggly Wiggly World (2000) Yule Be Wiggling (2000) Hoop Dee Doo: It’s A Wiggly Party (2001) Wiggly Safari (2002) Go To Sleep Jeff (2003) Whoo Hoo! Wiggly Gremlins! (2003) Cold Spaghetti Western (2004) Live: Hot Potatoes (2005) Splish Splash Big Red Boat (2006) Dorothy The Dinosaur (2007) Pop Go The Wiggles (2007) Dorothy The Dinosaur’s Memory Book (2008) Go Bananas! (2009) The Kingdom Of Paramithi (2009) Let’s Eat (2010) Ukulele Baby (2011) It’s Always Christmas With You (2011) they’ve chosen these songs and interpreted them with their own take on the thing; they’ve come up with some fantastic tracks. Not only are The Wiggles being inducted into the ARIA Hall Of Fame, but they also have an album, Ukulele Baby, among this year’s nominations for Best Children’s Album. Over their career, The Wiggles have been nominated for 15 ARIA Awards and won nine Best Children’s Album gongs. “That’s quite an honour,” Fatt agrees, “but our main huge buzz on the night is the fact that we are being inducted into the ARIA Hall Of Fame, but I guess we’ll keep our fingers crossed.” Also there on the night of course will be The (original) Yellow Wiggle Greg Page, who was forced to leave the band in November 2006 because of ill health. He was replaced by his understudy, Sam Moran, plus Wilcher the original fifth Wiggle, who didn’t stay long enough to be assigned a colour.


and an iconic figure recognised the world over – and a proud recipient, in 2008, of the Order of the British Empire, for services to music. Yes, meet Kylie Ann Minogue OBE.

2011

FROM GIRL NEXT DOOR TO GREEK GODDESS, KYLIE MINOGUE HAS HAD ONE OF THE MOST EXTRAORDINARY AND SUCCESSFUL MUSICAL CAREERS OF ANY AUSTRALIAN ARTIST OF THE PAST TWO DECADES. MICHAEL SMITH TAKES A LOOK AT SOME OF THE HIGHLIGHTS OF A JOURNEY THAT HAS LED HER TO INDUCTION INTO THE ARIA HALL OF FAME.

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o one could have predicted that that chirpy, innocuous cover of The LocoMotion, originally a hit for America’s Little Eva back in 1962, would launch a two-decades-plus international music career for the petite former soapie favourite Kylie Minogue – least of all Minogue herself. As she admitted, with an obvious sense of irony, in an interview published in The Drum Media, in March 1998, “I don’t know what happened with me. What went wrong? Because by all rights, I should have just disappeared. Whatever happened to that girl Kylie with big hair and pink earrings with that song LocoMotion?” What indeed! Yet it’s a testament to her canniness, foresight, commitment and tenacity that not only did she survive, not least against an enormous backlash in her home country, but has thrived to become one of Australia’s most successful artists

34 • THE DRUM MEDIA

After a successful television career, most notably with Neighbours, Minogue was signed by Mushroom Records in 1987 and her first single, the aforementioned cover of The Loco-Motion, topped the Australian charts for seven weeks, selling more than 200,000 copies and snaring her the ARIA for Highest Selling Single. The most important part of the music industry – the record-buying public – wasn’t interested in what the critics might be saying. They couldn’t get enough of “our Kylie”. The success of The Loco-Motion saw her travel to England where she hooked up with ‘80s production juggernaut Stock, Aitken & Waterman, who wrote her second single, I Should Be So Lucky, which also topped the charts and won her a second ARIA for Highest Selling Single. Firmly sitting in the commercial dance pop end of things, her debut album, Kylie, also topped the UK and Australian charts. All the indication was there for a successful pop career, so Minogue finally left Neighbours. Stock et al. again provided the songs and produced her second album, Enjoy Yourself, released in November 1989. The album’s release saw Minogue head out on her first actual tour, taking in the UK, Europe and Asia as well as Australia. Soon though, Minogue, who was now based in London, was getting serious about taking back some control over her career. While Stock, Aitken & Waterman again contributed seven of the 11 songs on her third album, Rhythm Of Love, Minogue worked with songwriters Michael Jay, Keith Cohen and Stephen Bray, who had worked with Martika, Paula Abdul and Madonna respectively. As she told Drum in January 1991, “I just had to do some writing and I had to work with other people. I had to release my creativity and having done this, I feel like I can call myself an artist, not just a singer. That’s very satisfying.” Her 1991 album, Let’s Get To It, pressed a more mature Minogue image and a greater involvement in the songwriting, even though Stock and Waterman – Aitken having left the production team – were still at the helm as producers. A Greatest Hits album, released in 1992, peaked at #3

here and #1 in the UK, but it also marked her final break with Stock and Waterman.

Come Into My World the following year in the Best Dance Recording category.

The biggest boost to her credibility as a serious artist however came in 1995 with an invitation from Nick Cave to perform a duet with him on a song he’d written for her, Where The Wild Roses Grow, included on his Bad Seeds album of that year, Murder Ballads. Talking to Drum about it, Minogue admitted she hadn’t really known much about Cave, but “admired his strength of character. He won’t bend for anyone. Hopefully I can learn from that.”

In 2005, however, her career briefly took a back seat after Minogue was diagnosed with breast cancer which, thankfully, she beat and by November 2006, she was back on stage performing in Sydney on her biggest production to that date, Showgirl: The Homecoming Tour.

The single hit #2 in Australia and #11 in the UK, Cave’s biggest commercial success, plus it won them Song of the Year and Best Pop Release at the tenth ARIA Awards. Minogue even joined Cave and the Bad Seeds to perform it during their set at the 1996 Big Day Out concert series. Released here in 1998, Minogue’s album Impossible Princess included a collaboration with Manic Street Preachers’ James Dean Bradfield and Sean Moore titled Some Kind Of Bliss, which was released as the first single and surprised many with its indie rock sensibilities. Despite all her determination to establish herself as a serious artist, by March 1998, she was still telling Drum that, “I definitely don’t see myself as a serious songwriter.” It would be next single, Spinning Around, released early in 2000, that would really stamp her style for the new millennium. Her first UK #1 in a decade, it was in the video for Spinning Around that the world was introduced to those infamous gold hotpants. Lifted from that year’s Light Years album, its simple synth pop proved the perfect entrée, the album selling more than a million copies in the UK alone. And the tours began to take on the aura of the costume spectacular, spurred on by her performance as The Green Fairy in Baz Lurhmann’s 2001 feature film, Moulin Rouge. Spinning Around may have set the stage, but it was Can’t Get You Out Of My Head, from her 2001 album, Fever, that became her biggest record ever, topping the charts in more than 40 countries. The Fever album also finally broke her in the US, where it debuted at #3 in the Billboard 200. A 2003 Grammy nomination for the single, Love At First Sight, paved the way for a win for

themusic.com.au

July 2010 saw the release of Minogue’s 11th album, Aphrodite. The album was produced by Stuart Price, who had done Madonna’s 2005 album, Confessions On A Dancefloor, as well as The Killers’ 2008 Day And Age album, the latter Minogue’s reference point for her approach to the making of Aphrodite. Kylie Minogue has received 35 ARIA nominations and won nine awards as well as three Outstanding Achievement Awards. Come Sunday, she now joins the likes of The Easybeats, Rolf Harris and past duet partner Nick Cave in the ARIA Hall Of Fame.

SELECTED ALBUM DISCOGRAPHY Kylie (1988) Enjoy Yourself (1989) Rhythm Of Love (1990) Let’s Get To It (1991) Kylie Minogue (1994) Impossible Princess (1997) Light Years (2000) Fever (2001) Body Language (2003) X (2007) Aphrodite (2010)

E KYLIG E U O N MI

CA 2007

KYLIE MINOGUE CIR


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JOHN HAMMOND JR (USA)

The 2011 Blues Hall of Fame inductee, multiple award-winner and best mate of Tom Waits is set lay down some world class blues riffs. Not to be missed!

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THE SUBTERRANEANS + SHOWA44 A must for modern jazz fans! The Bells Award winners for 2011 together with one of the fastest rising young fusion bands in Sydney.

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BARRY LEEF’S DOOBIE BROTHERS AND WEST COAST ROCK SHOW The evergreen Mr Leef and his band present a show full of nostalgia and bootie-wiggling riffs. Singalong Bazza!

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BRAZIL MEETS CUBA!

Salsa stars from Australia and Cuba combine for a big, big night of Latino loving and dirty dancing. Prepare to swing your hips!

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THE SYDNEY JAZZ ORCHESTRA Band leader Tim Oram conducts this fantastic jazz band, with guest vocalists Emma Pask and Jeff Duff.

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VIKINGO DE JEREZ

Sydney’s homegrown flamenco superstar, accompanied by El Titi de Algeciras, Laura Uke and Company, Shaun Doddy and many others.

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A NIGHT AT THE CROSSROADS The cream of Australia’s blues commu8nity come together to celebrate the music of the enigmatric Robert Johnson.

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MI-SEX

The triumphant return of one of the best loved bands of the Oz Rock era. Steve Balbi takes on vocal duties.

:fd`e^Jffe9ffbEfn0),().0. JXkli[Xp#;\Z\dY\i* – THE BASS Jle[Xp#;\Z\dY\i+ – CLARA C (USA) Kl\j[Xp#;\Z\dY\i. – THE BASEMENT INTRODUCES … SAM JOOLE N\[e\j[Xp#;\Z[\dY\i. – TINA HARROD + STIFF GINS + ALICE TERRY

THE DRUM MEDIA • 35


NOT SISSY MUSIC JOHN GOURLEY, THE FRONTMAN OF PORTUGAL THE MAN, TALKS DAVE DRAYTON THROUGH HIS TAKE ON ROCK’N’ROLL AND THEIR FIRST ALBUM WITH A MAJOR LABEL.

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hen I come back home my brother will come into my room at 5.30am the morning after I’ve flown into Alaska, whether I’ve just got two hours sleep or not, he’ll say, ‘Hey man, I know you were just in Paris but you get the fuck up because we’re going to go build houses’.”

ROCK’N’ROLL GETS CONFUSED WITH HARD ROCK TODAY.”

Gourley is enjoying a week off before Portugal The Man head to Europe on tour, a few days after their US tour in support of most recent album, In The Mountain In The Cloud, ended. He sounds excitable and well rested, probably because he’s in Portland, Oregon and not building houses. “There was actually even another producer at the beginning,” Gourley says a little sheepishly of the extensive producer credits – himself, John Hill (Santigold, MIA) and Casey Bates (This Providence, Pierce The Veil, Foxy Shazam) – on In The Mountain In The Cloud, the band’s sixth album in as many years and first with Atlantic Records. “I guess it just goes back to the way this band writes music and puts together songs; it’s a very collaborative effort, but at the same time I have to bring in the song. So I’ll bring it to the studio and show it to the guys. But a lot of it is taking a step back, saying, ‘What do you think? We could do this, or that,’ and I think it’s fairly easy for people to step into that situation and that seat with our band because it’s very open. “John Hill is a great producer, he has a great ear, he is very good with tones and he’s a fun guy to hang out with. It’s not production in the classic sense of it, you know, it’s not George Martin sitting in saying, ‘Come on John, let’s round this out!’ dealing with The Beatles. It’s not the same [as] it once was. And it can be, it just depends on who you work with. We tried to do our first record with Atlantic in the most laidback way we could and for some reason it was really hectic and there was a lot of trouble making the record, but for the most part I wanted to be able to sit back and listen with my friends and say, ‘What do you think? Where could this go?’” The highly collaborative approach has always been apparent in the band’s sound. It’s cohesive, certainly, but the densely layered and nuanced psychedelic rock suggests a writing process that knows no boundaries. And, perhaps surprisingly, Atlantic encouraged the process. “I feel like because of the meeting at Atlantic [the album] took more of a turn where we’re like, ‘Let’s be more experimental with these sounds, let’s do something we want to do and release something we want to release’. And Atlantic were very understanding and very helpful with that, letting us just do our thing. Because of this process our next album will be that much easier for us to make, not easy in the creative sense, but easier as far as knowing what to expect. It won’t be an easy record to make, I can already tell because I’ve been thinking about it and writing a little bit here and there. I can tell it will be another process, but a process I can handle better this time around,” says Gourley. It’s no surprise that the next album is already underway, really, given Portugal The Man’s prolific rate of releasing records. In the past, Gourley openly stated a distaste for pre-production and it seems as though that – and the resulting urgency to simply get the final version of a track down – could contribute to their rapid release schedule. “It’s a bit bizarre; everyone loves pre-production and getting things down. But I just feel like you can’t really focus on it because you’re going, ‘Oh well the structure will probably change,’ or whatever. The way I like to make demos or do pre-production is just records little bits here and there. If I have a melody I’ll just keep track of it and I’ll have 100 thirty-second recordings. Some of them are good, some of them might not be, but that’s when I really start structuring songs, saying, ‘What comes next?’ I like to sit down and do that and be on the spot, rather than stress over it. It takes a lot of the honesty out of the music as well, the more you sit on that stuff. You listen to The Beatles Anthology and you hear all those amazing demos and you know that George Martin is stepping in and saying, ‘Sorry George, sorry Paul, it just needs something more. Hey John, you got something, let’s bring that thing over, I heard that demo you did a little while ago, let’s slam that in there.’ That approach works really well for us.” Gourley will return to these examples of George Martin’s role with The Beatles – and countless others like it – during the conversation. He namechecks The Rolling Stones too, Black Sabbath, all manner of bands from a different era of rock, the sounds of which thread their way through In The Mountain… It comes down to his sense of what rock’n’roll is. “They way I like to think about rock’n’roll – I always feel like an arsehole when I say this cause it sounds pretentious – but the basic idea of rock’n’roll to me is that it’s really just about expression and being expressive through your music. Saying, ‘I want to write Helter Skelter today because that’s the way I feel. And fuck, I had a really good day yesterday, let’s write Octopus’s Garden,’ or whatever’s going on. I feel that’s what’s really important to rock’n’roll; to be dynamic. It’s important to punk rock. The Clash weren’t just writing noise, they were writing good songs and they were writing songs that really just expressed their opinions and the things that they saw. These bands are never really political bands, they’re just observing the social situations. “I actually had this talk with our sound guy on our last tour, ‘cause we played at this kind of dumpy bar and there were no monitors, which was crazy because we’d just played to 3,000 people in New York City and then we play these punk rock shows too. I said, ‘I don’t mind getting punk rock, I think it’s fun,’ and he said, ‘But you’re not a punk rock band.’ I said, ‘Well that depends on how you look at it, I mean I’ll throw a brick through a fucking window if I have to, I’ll do that shit!’ Rock’n’roll gets confused with hard rock today. I just like the classic term of rock’n’roll, I’m not a big fan of ‘alternative’ or ‘indie’, it just makes it feel like sissy music and that’s definitely not what we are. Sure, we write pop songs, but it doesn’t mean you have to be an arsehole.” WHO Portugal The Man WHAT In The Mountain In The Cloud (Atlantic/Warner) WHEN & WHERE Sunday 5 February, Laneway; Tuesday 7, Metro Theatre; Wednesday 8, UC Refectory

36 • THE DRUM MEDIA

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PUNK’S NOT DEAD FUCKED UP’S DAMIAN ‘PINK EYES’ ABRAHAM REMAINS A DEVOTEE TO THE THEORY THAT YOU CAN NEVER KILL AN IDEA. HE CHATS WITH SAMSON MCDOUGALL.

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ever to be labelled as anything near conventional, it’s a strange concept to see Toronto punk kings and queens Fucked Up touring the world with the Foo Fighters. It’s not an irony lost on ferocious vocalist and basically most-punk-man-on-the-planet-right-now Damian ‘Pink Eyes’ Abraham – yet he maintains there are strong links between each member of the now stadium rockers and his punk rock upbringing. “When we first met the Foo’s in Toronto, we’d heard from our friends The Bronx who’d opened up for them, that they are the coolest people you will ever meet, prepare to be shocked,” he says. “And so I was like, yeah, how cool can they be? Let’s be honest, I’ve met some cool people. “Nate [Mendel] from the band was in Brotherhood, one of the greatest hardcore bands of all time. They were one of the bands that got me through high school. I loved that band to death... Basically all of the band – with [members of] Sunny Day Real Estate and The Germs – played in a band that was so pivotal for my musical awareness.”

I DON’T WANNA GET THE BAND TO A POINT WHERE IT GETS STALE.”

To backtrack, Fucked Up are now ten-year veterans of the punk rock scene. In that time they’ve delivered over 60 releases (mostly singles and odd-length 7”s and 12”s) including three studio albums. Their second full-length, 2008’s The Chemistry Of Common Life, scored much critical acclaim and won them the Polaris Music Prize, Canada’s equivalent of the Australian Music Prize or the UK’s Mercury Music Prize. Their live shows are notoriously brutal and their onstage antics have garnered respect and disdain in equal measures (MTV won’t be calling them back in a hurry). They’ve played ATPs and pretty well every other major festival in the world and they’ve just released their third album – an 18-track rock opera set in Thatcher’s England called David Comes To Life, for which they’re apparently penning a prequel. There’s no doubt they are a big fucking deal, yet Abraham’s warmth and modesty is disarming down the phone line. When it’s suggested the new record had this writer reaching for the liner notes like a 14-year-old, he recalls a similar youth. “The best thing you can hope for in a band or for anyone who’s trying to do anything creative is that something you make is engaged with by other people... We live in a world now where you don’t necessarily have to engage with music, there’s not necessarily any cost to it so you can go and listen to it and process it and then move on. There was a time where I would pore over the liner notes and where I knew the lyrics to every single song.” Though their roots run deep into the American hardcore of the ‘80s and ‘90s, Fucked Up express a variance in song constructs that suggest wider influences. Abraham confirms that his musical upbringing was as much Sonic Youth as it was Black Flag, elaborating that it was more the idea of punk that moved him more than any particular sound. “A lot of the stuff that’s perceived as punk these days runs against what I perceive punk to be,” he continues. “But there’s always been a legitimate beating heart to the scene and y’know, you can’t stop an idea. The idea of DIY punk is a very powerful one if you’re a kid and a fan of music. You don’t really wanna be a cast from the heavens rock star, you just wanna be someone that plays music because you love it. DIY punk is a great way to make music and be involved in music because you just do it yourself and you literally take complete control of a situation. As a kid you have very little power in your life and here you’re given power. You don’t like the music you’re hearing then start your own band. You don’t like the bands that are coming to your town then book another band. You don’t like the records that are coming out then put out a record. It’s just so awesome that this idea never really died. And I don’t think it ever will die. It will continue getting co-opted and bands will keep ‘selling out’ and moving on, but it’s gonna stay pure because there’s always a kid who’s gonna say, ‘Fuck that band in the mainstream, I want a band like this’.” The early stages of Fucked Up saw distributors refusing to carry their material as it did not adhere to the usual confines of what a ‘release’ should be. They found like minds in Deranged Records who were happy to carry whatever they produced. The albums came slowly as the band grappled with the gravity of stringing a group of songs together in some sort of continuum. But after the success of The Chemistry... they were confronted with an entirely new pressure. “After the last record we felt that we had an insurmountable amount of hype on us, y’know? I really felt like we had hit a point where we were like, ‘Where the hell are we gonna go with this record?’ …Chemistry... really felt like, it was really flattering, but it felt like they’d painted us into a corner in a way.” Thankfully this external pressure played a large part in the development of the concept of David Comes To Life. “We thought we’d do this record that we wanted to do anyway and we were kinda like if people don’t like it, they don’t like it. So we made it a concept record with this idea we’d been playing around with for a long time.” There has been much conjecture in recent weeks over the band’s future after Abraham was quoted as saying that he is sick of touring and needed a break. At least during this interview there was little indication of the band’s imminent demise, though he talks of an altered course. “I have a feeling this will be the last full LP with me as the sole vocalist of the band,” he says. “I’m pretty sure that’s the direction we’ll end up going in and that’s for a variety of reasons. Number one, I don’t wanna get the band to a point where it gets stale and you can’t really dial it back from a concept record. Where do you go? I guess a quadruple live record’s the logical progression [laughs]. We’re at that stage now where there’s gonna have to be some changes. And that’s not gonna happen tomorrow, but definitely down the line.” He adds that they’ve just completed The Year Of The Tiger in their zodiac 12” series and that they’re planning a prequel EP to the new record surrounding Veronica, the album’s leading lady. Diehard fans fear not... It doesn’t seem likely they’ll be tossing it away just yet. WHO Fucked Up WHAT David Comes To Life (Matador/Remote Control) WHEN & WHERE Tuesday 6 December, The Standard; Thursday 8, Sydney Football Stadium

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THE DRUM MEDIA • 37


HOUSE MUSIC SYDNEY-BASED SINGER/ SONGWRITER MATT CORBY HAS A NEW EP AND A NEW WAY OF GETTING UP CLOSE AND PERSONAL WITH HIS FANS, HE TELLS MICHAEL SMITH.

RAINING PLEASURE IT’S BEEN MANY YEARS NOW SINCE OZ ROCK LEGENDS THE TRIFFIDS HAD THEIR METAPHORICAL DAY IN THE HOT AUSSIE SUN, BUT THE MUSIC OF THE BAND AND THEIR CREATOR DAVE MCCOMB WILL LIVE ON FOREVER. PEDAL STEEL PLAYER “EVIL” GRAHAM LEE DISCUSSES THE BAND’S LEGACY AND IMPENDING TRIBUTE WITH STEVE BELL.

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he last time we caught up with Matt Corby, in November last year, he was touring the country on his third EP, Transition To Colour. It was recorded in the UK with producer Ian Grimble, who is part of the Communion collective – along with Ben Lovett of Mumford & Sons and Kev Jones of Cherbourg – the label that signed him for the UK and Europe a couple of years ago. In that conversation, Corby also talked about working on his debut album. However, a year on and he’s just released another EP, Into The Flame, instead. “It was one of those things where I think I was trying to rush everything,” he admits. “I just thought, normal protocol is you make an EP, you make a record, but I sort of got to a point where I was like, ‘Maybe I’m fine with releasing small bodies of work until I’m ready to make that kind of definitive statement, make a record.’ So this whole year actually I just sort of decided to not play much music. “I got so involved with, you know, the political side of the industry, especially in London – I kinda got tired of it and came back and got a job in a coffee shop and wasn’t thinking about writing songs or playing proper gigs or anything. I’m cool with just making EPs at the moment. I know it’s not the most credible thing to do but it doesn’t really bother me. As long as I can say what I need to say within the EP then it’s fine.” In the end, while Corby did record a number of songs on which he’s still working, an album never eventuated and, as is obvious from his previous statement, he’s in no rush and might release another EP before he gets around to working on a full-length. “Yes, there is something in the works,” he explains with a chuckle. “I’m just trying to figure out what it is I want to say. When I left London at the start of this year, we said our goodbyes and said, ‘I’ll be back next year,’ and they were cool with that – they’ve got a lot of stuff that they’re doing anyway. We sent Kev one of the new tracks – I was really nervous because the last record we made was with Communion and I had a lot of help from them as far as direction and they’re the most hypercritical human beings when it comes to music – and he sent me an email back, all in capital letters going, ‘THE NEW SONG’S FUCKING AMAZING!’ I was so glad.” Opting to record the new EP in Sydney, he took his current touring band – featuring bass player Tristan Thorne, drummer Tim Coghill and keyboards player Bree Tranter, with whom he duets on a couple of tracks – into the studio. Apart from EP launch shows in the various state capitals, Corby has spent much of the last few weeks travelling the nation on what’s been dubbed the Secret Garden tour, a completely different experience. “When I came home, I wanted to keep playing but I wasn’t doing anything musically and I was a bit over just playing in venues. So I said to my manager that I want to keep the people that have been there listening to the music the whole time, still there. So we decided to take the music straight to them, straight to their house – why not play in their backyard? We thought it was going to be really difficult logistically, but the first couple of shows were incredible. People just rocked up, brought food and blankets and all just sat there. You kind of feel you’ve just brought people from different worlds together.” WHO: Matt Corby WHAT: Into The Flame (Scorpio) WHEN & WHERE: Thursday, Oxford Art Factory 38 • THE DRUM MEDIA

he Triffids’ charismatic frontman Dave McComb is a prime example of a rock star being taken too soon. His literate, cinematic vision had built him a solid fanbase and allowed to him to travel extensively prior to his passing in 1999 at the tender age of 36, but sadly it wasn’t until much later that his music was afforded the acclaim it so richly deserves, even amongst Australian circles. In recent years the remaining members of the Perth band have been doing their best to keep The Triffids’ flag flying high, playing shows in remembrance of their fallen friend, keeping alive The Triffids’ legacy as a quintessential Australian act for future generations. Ironically, it was Europe where the concept first took wings, just as it was Europe where the band fled in the ‘80s when their artinfused music struggled to find a toehold in a scene dominated by pub bands and testosterone. “Last year in 2010 we did a show at the Barbican Theatre in London and then we went over to Belgium to the same place where we played in 2006 – that was where the ball really started rolling again in 2006,” recalls pedal steel player and morerecently band historian “Evil” Graham Lee of how these shows began. “I’m always amazed at the regard with which we’re held in Belgium. Someone even sent me a Belgian Trivial Pursuit card with a question about The Triffids. I don’t know why it resonated so much there, although the people that I know in Belgium are so into music and the arts in general. It’s a bit like how in Iceland nearly half of the population are apparently published authors – in

Belgium they just all seem to be into the arts and music and riding bikes and drinking beautiful beer. “Belgium played a huge part in getting this whole thing rolling, because we were invited over there in 2006 to be special guests at an art exhibition and that’s kind of where it all started. We played some songs as part of that and realised that the best way to remember Dave and for ourselves to remember – and by extension for the people listening – is to play those songs and that it’s not disrespectful to play those songs without him. It’s in fact respectful; it’s the best thing we could do.” This quest to keep The Triffids’ music alive for future generations is obviously going along okay judging by the talent that they’ve accrued to perform with them on their run of Australian shows. “Fortunately it’s music that has survived the years very well,” Lee ponders. “There are many examples of young people who perhaps weren’t even born when we broke up and who just love music discovering the band – they either come to it through their parents, or through friends. I think that Alex from Oh Mercy – who’s going to be a part of the show – was introduced to the music by the guys in The Panics, who were also big fans. One of the golden rules of this whole process is that we’re just trying to choose people who have the right attitude and who are doing it for the same reasons that we’re doing it; we’re doing it to remember Dave. “There will be all five remaining Triffids on deck. Mick Harvey will be singing with us, as well as playing vibes and playing guitar. We have Bruce Haimes on piano and Steve Miller is the MC – Steve used to be the tour manager back in the early days and is one of my oldest friends and was a very, very good friend of Dave’s; Steve’s there to hold things together and we’re hoping that he will do just that. And Simon Breed is an interesting one: Simon is a Londoner who was influenced largely by Dave and was introduced to me by Mick Harvey and I was a little bit wary because I thought, ‘Well, if he’s such a student of Dave, is he going to try to sound like Dave?’ because that’s not really what we want – we want people who can inhabit the songs rather than try to be

Dave, because no one can be Dave. But when he rocked up to our first rehearsal in London and got up there and started to sing I realised that he was absolutely perfect and he wasn’t trying to be Dave, but was trying to do the best for the songs in his guise, which is exactly what we were after.” Of course the Triffids’ legacy wasn’t all down to the acumen of Dave McComb – the band were adept at fulfilling his visions and equally important to the overall package. “It was very much a band of disparate personalities, who were all into different types of music, but Dave chose us all pretty much himself,” Lee recalls. “It was a gradual process that brought together the classic line-up, but he chose us as much for our personalities and the way that he thought we’d fit in with each other as for what we played, or our musical styles. Although the musical styles played a big part too. When we get onstage together and start playing a Triffids song, it just immediately sounds like The Triffids. That’s because we’re not session players, we’re playing the only way that we know how. Dave was a bit of a visionary like that: he might not have known how it would work, but he knew that it would work. I’ve often wondered what he thought he was doing and if he planned to get the sound that we were coming up with, because there is a Triffids sound and nobody else can sound like that.” WHO: The Triffids WHEN & WHERE: Saturday 3 December, Homebake

USING THE FORCE VETERANS OF THE PHILADELPHIA HIP HOP UNDERGROUND, JEDI MIND TRICKS, ARE FINALLY HEADING TO AUSTRALIA, FOLLOWING THE RELEASE OF THEIR SEVENTH ALBUM AND THE DEPARTURE OF THEIR LONGTIME PRODUCER. FRONTMAN VINNIE PAZ HAD A CHAT WITH ALEKSIA BARRON ABOUT THE REAL BUSINESS OF MAKING MUSIC.

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hen speaking to Vinnie Paz, also known as Vincenzo Luvineri, don’t mention the opening scene from Lost. “Of course, that’s flashed through my fucking head now,” groans Luvineri, confessing to a deathly fear of flying. So great is his paranoia of flying over the Pacific, it’s what’s kept him – and Jedi Mind Tricks – away from Australia for so many years. He’s still not entirely ready for the flight: “Oh God… I’ll probably get eaten by a shark on my way there,” he says, laughing nervously. Like any hip hop outfit with a career spanning 15-plus years, Jedi Mind Tricks have something of a checkered history regarding the group’s line-up. They lost MC Jus Allah, then regained him in 2007; longtime producer Stoupe (Kevin Baldwin) recently exited the group, making the new album Violence Begets Violence the first in Jedi Mind Tricks history without him at the helm of the production. Luvineri, however, is looking to the future – and that future holds his first Australian tour. The news that Jedi Mind Tricks, favourites of the American underground hip hop scene, would be touring down under was met with nothing short of glee from diehard Aussie fans. So what took them so long? “I came up with every excuse not to do it – and then I ran out of excuses,” says Luvineri. This man’s fear of flying really cannot be underestimated. He says, “I just never really was willing to go through the risk of losing my mind to get there. I really wanted to be there and it seems like kids like our stuff over there a lot… but I was always sidetracked by the fear of the flight.” Still, the stars finally aligned when Luvineri realised what he was missing out on. “[Everyone] really just wore me down over a series of years. They were like, ‘The only reason you’re not going is because of the plane flight!’ and I was like, ‘That’s exactly right!’” he laughs. “How

long can you really cling to that as being the only reason why, you know what I mean? The people that I know who have been there are like, ‘The fans are amazing, the country is amazing, it’s beautiful, but don’t for a second think that it’s not the worst fucking flight of your life.’” Luvineri is well aware of the depth of his Australian fanbase and he concedes that their dedication to his work means that this visit is well overdue. “There’s definitely a kinship with us and just the overseas market in general,” he muses. “I think whether it’s Australia, whether it’s Europe, whether it’s Latin America, there’s an appreciation.” Some of it, he feels, can be attributed to the commercialisation of the American music industry, which he feels is less inherent in some of the international markets. “Whether it’s a political thing, whether it’s cultural, for someone reason, there seems to be less brainwashing going on [internationally]. Younger kids here [in America] are definitely part of the mainstream.” There’s something about international music scenes, he says, that leaves audiences freer to make their own decisions. “Other places, people are more like, ‘I’m going to like what I like, rather than be told what I like’.” There would be few people as qualified to speak on the evolution of the music industry as Luvineri, whose career has spanned nearly two decades. Violence Begets Violence is the group’s seventh studio album and Luvineri is also working on his second solo album, which is due for a 2012 release. Luvineri says music is his only marketable skill. “I never knew I would do anything else in my life,” he explains. “I never thought about it in that way, just because I never knew anything else. I’m not college-educated, I don’t have a trade or anything; all I’ve ever really known is what I do. It’s really a situation like, where something is your livelihood and it’s your love, it’s all that you know. Thinking of not doing it isn’t an option for me.” What Luvineri has done better than most, though, is master the business side of the industry. It’s long been said that talent alone is never quite enough – and nobody knows it better than Vinnie Paz. “It’s like there’s a lot of things that are intangibles in music,” he says thoughtfully. “There’s rappers that are better than me, but why do they not have a fifteen-plus-year career? You can be an incredible rapper, but if you can’t pick beats, you ain’t gonna be shit.” There’s much more to musical success than music, says Luvineri. “If you don’t understand what the kids want, if you don’t understand artwork, if you don’t understand imagery… if you don’t understand these little subtle things, these intangibles… they’re a big deal. I don’t think I’m the greatest rapper in the world, but I know what I’m doing. I know how

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to pick beats, I know how to make albums, I know what the artwork should be, I know what the song titles should be.” To Luvineri, making music goes hand in hand with good branding and good business sense. “The way that we handle our business, the way that we treat people, the fact that I’m not an arsehole to all my fans… all these things are things that the average rapper wouldn’t even know, wouldn’t even have an understanding that that’s what we do.” That’s why he gets frustrated with fans and critics who are hailing Stoupe’s departure from the group as the beginning of the end. “Jedi Mind Tricks is bigger than its parts. Jedi Mind Tricks is bigger than Stoupe,” Luvineri says flatly. “So while everyone was bitching and complaining when the news came out, I wasn’t worried.” After all, he points out, the branding will stay intact. “I’m the one picking the beats for the last twenty years anyway, so no matter who they come from, it’s still my taste. Am I automatically going to have shitty taste because I’m not working with him? People are weird, man.” And there it is – Jedi Mind Tricks is a great brand, with international respect and a smart manager at the helm. Luvineri is the lynch-pin of the whole operation and he’s looking forward to showing the fans what comes next, regardless of who makes up the current line-up. “Give the benefit of the doubt. If certain people are too stupid to do that, maybe I don’t want them as fans anyway.” WHO Jedi Mind Tricks WHAT Violence Begets Violence (Enemy Soil/Pazmanian Devil) WHEN & WHERE Thursday 8 December, Factory Theatre


THOSE DAYS POWDERFINGER MAY BE GONE BUT THEY’RE YET TO BE FORGOTTEN. GUITARIST DARREN MIDDLETON TAKES TIME OUT FROM HIS TAXING REGIMEN TO REMINISCE WITH STEVE BELL.

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arren Middleton sounds relaxed and at ease with life – and why wouldn’t he be? The former Powderfinger guitarist has followed up last year’s gargantuan farewell extravaganza with a year of comparative leisure, taking his young family on a six month European sojourn and, more recently – having relocated to Melbourne – returning from a surfing-slash-camping trip with his mates on the Victorian coast. Yet while the massive success of the band’s farewell Sunsets tour may now be but a fading memory, Middleton is back in ‘Finger mode for two last promotional forays, plugging the new band tome Footprints: The Inside Story of Australia’s Best Loved Band by renowned music journalist Dino Scatena, as well as the second ‘best of’ compilation Footprints: The Best Of Powderfinger 2001-2011 (the companion to 2004’s Fingerprints). For fans deprived of a Powderfinger fix, it’s going to be the book that is the most exciting proposition, for it’s a warts and all look inside the band’s inner sanctum – Scatena accompanied them on their massive farewell jaunt – and while Powderfinger have always been an affable and relatively open bunch, they’ve always been somewhat insular in relation to the band’s inner relationships and this is all brought to the fore with open firsthand accounts from both the band members and their support team.

Sunsets tour, an incredible outpouring of emotion and adulation on a scale that may never be seen again on the Australian musical landscape. “The last tour we did was amazing – it doesn’t get much better, in every aspect really; the size of shows, the variety of shows – from tents to entertainment centres to Rod Laver Arena and that sort of thing – and just everyone turning up and just loving it so much,” Middleton marvels. “Everyone was just having a really good time and everyone turned up and had a great time with us, which was testament I think to the fact that we’ve always been an Australian band, not one who made it overseas and then made it here, or made it here and then moved overseas. It was the perfect ending to an amazing journey.”

“That is the good part about the book I reckon, that you get to see how things were behind closed doors, in the band sense,” Middleton reflects of the biography. “I think it’s a hard thing for us to do, because almost everyone kinda knows almost everything that there is to know about us, there’s not that much in the way of debauchery and stories that only happened in hotel rooms that have all been revealed in the book because they kinda didn’t exist. I think it was done pretty well just because you got the five of us and our manager’s take on our lives for the last twenty years. “We kinda didn’t really want to do a book straight away, but we spoke about it towards the end of last year – before our tour started actually, because we took Dino on the road. We’ve known Dino for a long time anyway so it was comfortable in that sense – we weren’t opening the doors to a stranger that we’d be a little bit odd around. We were all pretty relaxed about it; it was pretty much just meant to be ‘access all areas’ to our stories and whatever for Dino: whatever he would ask, we would answer.” The opening section of Footprints… is particularly fascinating, dealing with the various members’ backgrounds and their eventual meeting and forming of the band in Brisbane back in the late-‘80s. “Yeah, that was part of the book that I enjoyed as well,” Middleton laughs, “reading the back stories from the very beginning – like before I joined and when I joined, it was a good laugh remembering back to some of that stuff actually.” What makes Footprints… a page-turner though, is that it’s a no holds barred account of the band’s history and inter-personal relationships, delving into the band’s often fractious dynamic and exposing many of the members’ personal idiosyncrasies in the process: Middleton, for instance, has his hair metal past exposed, as well as some tales of medieval finery and a spattering of drug use, but he’s fine for all that to enter the public domain. “Yeah, that is in the back of your mind I suppose, but you’ve got to realise that you’re trying to be a little bit honest about this and surrender those sorts of bits of information,” he reasons. “For me personally the heavy metal stuff is just kinda embarrassing, but you’ve just got to laugh at it as well. I’ve always been a big believer that the steps you take to get you where you are sort of thing, so I don’t deny anything that I’ve done in the past – as embarrassing or as silly as it is, it’s all part of growing up I suppose. And there’s nothing that bad in there. We’re all around today, with pretty much healthy bodies and minds, so we came out of it okay as well. Luckily.” Another fascinating part of the narrative is their attempt to crack the lucrative American market and how much traction they were getting in the States before it was derailed by the 9/11 tragedy. “Yeah, we were over there, it was mentioned in the book how we’d just done a film clip and a lot of money was spent on it,” the guitarist recalls. “We were going through that process of I guess being built up in the States via the video clip and a bit of airplay – My Happiness was getting a bit of airplay over there – and then everything just kind of stopped. Everything stopped for a sad reason and you can’t be angry about that – it’s just how it panned out. I wonder if things had gone really well in the States and we’d become a massive band over there how the last five years of our lives or career in Powderfinger would have panned out, because I could only imagine that it would be completely different. The association we’ve always had with Australia as our home – and our home crowds – has always been unbelievable and I wonder whether if things had taken off overseas whether we might have missed out on a bit of that, particularly towards the later part of our band life. There’s no complaints from any of us about that, it’s just how it panned out. When you put it in perspective of what happened at that time it’s all pretty insignificant.” And this amazing rapport that Powderfinger had built over the years with their home fans really came to the fore with the WHO: Powderfinger WHAT: Footprints: The Inside Story Of Australia’s Best Loved Band (Hachette), Footprints: The Best Of Powderfinger 2001-2011 (Universal)

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THE DRUM MEDIA • 43


SOLAR ENERGY

LIFE’S WORK

OVER THE PAST TEN YEARS, DAEDELUS HAS DELIVERED 12 SOLO ALBUMS TOUCHING ON EVERYTHING FROM FOLK TO BREAKBEAT. AHEAD OF THE PRODUCER’S LATEST AUSTRALIAN TOUR, MATT O’NEILL SPEAKS TO ALFRED DARLINGTON ABOUT HIS UNIQUE CAREER.

FOLLOWING THE TRAGIC DEATH OF BASS PLAYER SEAN STEWART, HTRK’S REMAINING MEMBERS JONNINE STANDISH AND NIGEL YANG FOUND A REASON AND A PASSION TO MOVE FORWARD. BY ADAM CURLEY.

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onnine Standish is in London. Nigel Yang is in Sydney. The two members of HTRK are speaking to Drum Media via a Skype hook-up that is grainy and causing echoes and pops on every end. Discussing the band’s second album, Work (work, work), the communication troubles are both unhelpful and apt. With the record’s sound and songwriting lingering somewhere over HTRK’s former homes of Melbourne and Berlin and their present base, London – its lineage worming through post-punk, art rock, electronica and shoegaze – it seems appropriate that we’re each sitting somewhere different, struggling with a temperamental connection to the others. Having left Melbourne five years ago with their debut album ready to go, it’s also slightly odd that it’s taken this long to be able to properly discuss the circumstances of that first long-format release, Marry Me Tonight, which was belatedly released in 2009. “It was held up in a sort of rights dispute and it was really frustrating, actually,” Standish says of the record, which was recorded in Melbourne in 2006 and released via UK indie label Blast First Petite in 2009, getting slipped onto local shelves with no promotion. “I guess I have to say that we were managed by Paul Smith, who is [the founder of] Blast First Petite, who is a bit of an old-school industry legend and he really wanted to do the right thing by the record. He thought it could have been held up another three years.” Conversely, Work (work, work), recorded and produced by Yang and Standish themselves in London following the death of bass player Sean Stewart in March 2010, was released in September through Mistletone in Australia and also found an American release through Ghostly International, home of School Of Seven Bells and Gold Panda. Amidst talk of pinpointing emotional themes on their second album – words that come up include romance, isolation, lust, longing, tiredness and frustration –

Standish states, “The main thing is that I think it’s a really sexy album,” before pausing and considering the external response it’s had so far. Many reviews, it’s noted, have used Stewart’s death as the basis for discussing the record’s mood, yet writing for the album began just after Marry Me Tonight was in the bag. “I think the album would be taken very differently if Sean was here,” Standish says. “This is really the album we hope that Sean wanted to make as well, as all these ideas we’ve all had over the last four years. And I think that people are reading into ‘death’, whereas it’s not an album about death at all, it’s an album about life.” To the question of why continuing with the record was important, Standish offers: “More as something to hold onto. I’ve said before that, personally, I threw myself into the production with Nigel to keep closer to Sean because the three of us still existed in a psychological way in the studio… It was really a coping mechanism to get through something that was so shocking.” Now that the album is finished and released, do Standish and Yang have new reasons for being a band? Yang opens up. “I’m still having difficulty dealing with the coverage of this album and the accolades and whatever that’s happening in Australia,” he says. “Every compliment is bittersweet because we never got such widespread coverage for Marry Me Tonight, so Sean missed out and he would have loved all this… I just don’t know how to feel. Which is fine, but you know, I’m still kind of confused.”

WHO: HTRK WHAT: Work (work, work) (Mistletone/Inertia) WHEN & WHERE: Wednesday, Emma Soup Gallery; Thursday, Goodgod

CEMENTING SOUND

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“We’d been jamming around as a live band for quite a long time and it took us a while to divert what we were doing live into an album that we thought represented us,” he explains. “We were quite used to going to a rehearsal room and jamming stuff out and writing songs and we were getting booked for a lot of festivals and gigs and the gigs just kept coming to us, so we kept doing them because that’s what we love to do.” Over the years Kobra Kai have grown and evolved on stage. A song that was written in a rehearsal room (usually someone’s bedroom) doesn’t necessarily play out the same way every time and it’s this freedom to change things as they play that made cementing something a touch difficult. “We were just used to jamming stuff out, having something with less form and structure to it, being able to change what you’re doing I guess. So I guess having to actually finalise a song took a while for us to do. We’re thinking, ‘How should we structure it? Should we put it down like this?’ I guess it was just merging that live style where we kind of draw things out sometimes or mix things together. Just writing songs which you can play on the radio and that is a bit tricky for us, but we managed to get something down.” The self-titled debut is unlikely to disappoint. Best played loud it’s full of the “dirty bass lines and grooves 44 • THE DRUM MEDIA

One could argue that Daedalus’ jazzy experimentalism acted as the ideal bridge between the breakbeat vanguard of last century and the popular futurebeat movement of the past ten years. One of the earliest progenitors of Los Angeles’ now-legendary experimental beat scene, Daedelus’ off-kilter polyrhythms and irrepressible eclecticism can be detected in the work of every current leftfield electronic and experimental hip hop artist from Flying Lotus through to Busdriver. “Yeah… I largely deny that,” Darlington laughs. “I would never put myself in that position. I feel it’s wonderful to be part of a community and, these days, it’s a large one insofar as electronic music is concerned. It spans so many different artists and so many different genres that it almost feels weird to be put under the same circus tent. It’s quite a gift to be amongst that community. I feel, though, that we all ricochet off each other. “You know, I’m just as influenced by some random 15 year old kid making waves in the scene as he may or may not be influenced by me. I don’t think we’re in that kind of world where one artist directly influences another. Sure, I’ve been around for a while so persistence of vision does start to kick in, but the truth of the matter is that I’m just slogging away trying to put some ideas forth in music.” It’s an interesting position for Darlington. To all intents and purposes, the producer has done everything within his considerable capacity to avoid such categorisation. His work over the past ten years has consistently

rejected the idea of an overarching aesthetic. A trained jazz musician and multi-instrumentalist with a surfeit of musical interests, Darlington has sought out rave, hip hop, jazz, folk, downtempo, ambient and the avantgarde in a sustained attempt to evade categorisation. “I distinctly try to make each and every record different from the last,” the producer admits. “I don’t take it lightly to put out music these days. I think there’s such a sea of sound out there that to add a drop to that ocean is kind of irresponsible unless you really have something to say. You know, I’m sure a lot of what I’ve done has a certain similar tonality or sonority or what have you – but that perspective is always applied to very different ends.” It’s the signal irony of Darlington’s work as Daedelus. The producer’s work has proven a vital component of numerous artists, entities and institutions – he played a pivotal role, for example, in shaping the post-millennial sound of the legendary Ninja Tune label – but, as an artist, Darlington is very much a singular entity. The producer inhabits his own idiosyncratic world – appearing to be motivated almost solely by curiosity and pride. “I don’t really understand the point of repeating the same idea. If that could sustain me, why would I ever need to release another record? I mean, moments in time are so fleeting and music is such a temporal thing – it exists in the moment it exists and then it’s gone – constantly revisiting something… It just doesn’t sound like much fun!” WHO: Daedelus WHAT: Bespoke (Ninja Tune) WHERE & WHEN: Friday, Goodgod

KINDRED SPIRITS

KOBRA KAI’S SYNTH AND GUITAR PLAYER REHAN PANDITARATNE TELLS LIZ GALINOVIC HOW IN ORDER TO CREATE A LONG-AWAITED DEBUT ALBUM THE BAND HAD TO FIGURATIVELY REEL IT IN WITHOUT ACTUALLY SOUNDING LIKE THEY DID. t’s fairly rare for artists to be as well known as Sydney-based drum’n’bass quintet Kobra Kai are without having released an album. Since 2007 they’ve been writing music and gigging live, taking their mix of dubstep, drum’n’bass and hip hop to various stages – as supports, headliners, at small venues and big festivals around the country – and still there has been no album. Until now that is. And according to the band’s synth and guitar player Rehan Panditaratne, it’s the band’s hunger for live performance that has gotten in the way of producing that little object the fans love to take home with them.

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uite inadvertently, Alfred Darlington has become one of the most influential artists in contemporary electronic music. Blessed with one of the most mutable skill sets in modern music and an array of musical interests bordering on the paradoxical, Darlington never entertained any ambitions of being a figure of musical importance. Yet, as electronic music has evolved over the past decade, it’s found itself growing more and more sympathetic to the experimental work of Darlington’s alter ego Daedelus.

NEWCASTLE HIP HOP TRIO THE LAST KINECTION HAVE BATTLED ADVERSITY TO DROP THEIR SECOND ALBUM. MC WENO CAUGHT UP WITH ALEKSIA BARRON.

that make you move” the band is so keen on while continuing to showcase their ability to mix different dance genres into something not quite dubstep, not quite drum’n’bass nor straight-up hip hop. “[It’s] basically a mash-up of everything, everything we love to listen to and then write,” Panditaratne says. “All the tracks that we’ve written, they’re like a mix, we draw from different genres so there’s a mix of dubstep and hip hop in a lot of tracks, some of them have like dub-roots elements mixed with drum’n’bass. It’s quite a draw on multiple genres and I guess giving a vocal element to a lot of dance styles which don’t usually have vocal elements to them (a reference to the skills of MC D-Tech and singer/MC Spex). “Take Your Problem, which is the second track on the album, it’s a bit like a dubstep tune the way the beats are made and that and it’s a little bit faster and we’ve got vocals pounding their way through, which you don’t really hear in dubstep, having real hip hop vocals. “One of my favourites is a track called Kinetic. It draws from dubstep but it’s got an element of Portishead or Lamb in there. Kate [Villamagna, aka MC Spex]’s got a very dark hook in there; she sounds like she’s pouring her soul out on it. So I guess it’s nice to hear something that’s got an emotional hook written for a dubstep tune. I don’t know, it almost seems somehow despondent and melancholy and you don’t often get that vibe from a dubstep tune.” WHO Kobra Kai WHAT Kobra Kai (Foreign Dub/Vitamin) WHEN & WHERE Thursday, Mona Vale Hotel; Friday 2 December, Cambridge Hotel; Saturday 3, Subsonic; Friday 9, The Patch; Saturday 17, The Gaelic; Sunday 18, Clubhouse

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t’s been a few years in the making, but The Last Kinection have had plans for their second album, Next Of Kin, for quite a while. “The name [of the second album] came along before we’d even done the first album,” laughs Joel Wenitong, also known as MC Weno. Next Of Kin is a clever title, combining wordplay with the challenging notions of endings and successions. Given the group’s familial connection, the name is even more powerful. Wenitong formed The Last Kinection in 2006 with his sister, MC Nay (Naomi Wenitong) and DJ Jaytee (Jacob Turier). Their first album, Nutches, was released in 2008, although the follow-up has been a long time coming. As Wenitong says, “We actually had other things happening as well.” No kidding. After the release of Nutches, the group was involved in a horrendous car accident, in which Wenitong and Turier were badly injured. You can’t keep a good mob down though, and the group were back onstage in 2009 supporting Public Enemy. Amongst a heavy touring schedule and numerous personal commitments, including Wenitong’s own medical studies, Next Of Kin came together. “The songs aren’t all political and they’re not all happy-fun stuff,” explains Wenitong, adding that for him, crafting a positive message was the most important part of writing the album. “That’s what we try to do for any kind of political ideas and make it as positive as possible.” Of course, positivity doesn’t mean that the album is pure sunshine and bunnies – rather, Wenitong says, it’s about recognising the difficulties faced by Indigenous Australians, as well as the strength that can be drawn from that. “We can’t forget all the crap that happened,” he says firmly. “But stupid people don’t learn from their mistakes, so we have to.” Even from the first words on the album – spoken by Wenitong’s uncle – The Last Kinection’s message is clear: young Indigenous Australians are in the best position yet to not only find their own personal success, but to work for change to benefit their people. “A big thing for my mob

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is that we kind of forget what people have done before us – to get us these jobs and that – and we kind of need to fill those jobs and do what our ancestors kind of envisioned us to do; to change it to suit us,” he says emphatically. Wenitong drew inspiration from numerous events to write the songs on Next Of Kin, such as a summit about refugee detention centres, which went on to inspire Are We There Yet? What he realised that day, he explains, is that, “…for Aboriginal people from this country, there’s no escape”. Hearing about people fleeing their home countries reinforced Wenitong’s own feelings of connection to the Australian land. “It’s where we come from. And it would be horrible to get to that point where you’d have to leave to survive better.” Next Of Kin offers plenty of lighter moments as well though, such as the dancefloor-worthy Talk About It, in which Wenitong cheekily spits, “I like it much better when you use your mouth”. The song, he explains, was inspired by the death of spoken communication in the younger generation. “With texting and Facebook and stuff, there’s not really that actual communication,” he says. “There’s a lot of things being said, but there’s not as much connection. Being older and in that generation where – when I was a teenager, the internet only just came out. I can actually see some of those issues coming out now, with people not being able to communicate in real life.” With Wenitong currently working towards his medical degree, fans of The Last Kinection are undoubtedly nervous about the group’s future. Wenitong, however, has no plans to sever his ties with making music. “It’s what I do,” he says simply. “I can’t imagine ever stopping. Music is what I love.” WHO: The Last Kinection WHAT: Next Of Kin (Elefant Traks/Inertia) WHEN & WHERE: Saturday, Goodgod; Saturday 3 December, Cambridge Hotel


THE DRUM MEDIA • 45


NEW FACE OF OZ ROCK

HERE COMES…

HEAVEN THE AXE AREN’T QUITE METAL, NOT STRAIGHT HARD ROCK AND THEY’RE CERTAINLY NOT GLAM, DESPITE HAVING PHOEBE PINNOCK OUT FRONT, AS SHE TELLS MICHAEL SMITH.

WESTERN SYDNEY HARDCORE OUTFIT THE BRIDE MIGHT BE PROMOTING A DEBUT ALBUM, BUT LEAD SINGER KEVIN SCHULTZ TOLD MONIQUE COWPER, HE IS MORE INTERESTED IN GETTING MUSIC FANS TO SUPPORT THEIR LOCAL SCENE.

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hen your fans are at still school, you’re only a few years out and your band has a reputation for causing mayhem and destruction at live shows, it isn’t exactly easy to score a gig. The average age of punk/hardcore/metal band The Bride is just 20, but in the few years they have been together they have already noticed the handful of local councils, youth services and venues offering gigs is fading rapidly. “The most important thing, whether we are playing a show in Sydney, Melbourne or wherever, is that we always make a point of saying support your local music scene,” Schultz said. “If kids don’t come out to shows, the promoters won’t work to put them on. I don’t care what scene you’re into, whatever it is, get behind it. Kids will complain when big bands won’t come out to play, but there’s no incentive if promoters think there’s no audience.” After growing up in Marayong, near Blacktown, one of the strongest local music events was Hills Shire Council’s Hype Central, which used to put on regular shows. When that stopped it left a large gap in the suburban market. “Councils will say they have to stop the shows because they are too dangerous and then others follow,” Schultz said. “PCYCs used to do shows all the time and I can’t remember the last time I saw a PCYC advertising a show. That’s why we say, don’t just support a band, support a scene. It’s something we’re really passionate about.” Luckily The Bride have found plenty of support for the tour to promote their debut album, President Rd, including all ages shows in every city they play, but even that isn’t easy when your band’s reputation precedes it. “We sort of don’t hold anything back,” Schultz laughs. “We don’t give a fuck, when we play, we express ourselves as much as possible. We’ve been in trouble a lot for breaking stages and stuff like that, but

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o how did a girl from Wagga end up fronting a band that draws its component parts from various members of decidedly metal bands like Damaged, Manticore, The Berzerker, The Amenta and more, you might wonder? I just think that’s part and parcel of a hardcore show. We get into it, there’s no limit. We do throw ourselves around and either we end up on top of the kids or they end up on top of us. We have ended up with a lot of bills for stages. It happens more often than not, actually.” While Schultz might claim this level of intensity goes hand-in-hand with hardcore, he admits that President Rd has revealed a new depth to their music including guest vocals from Tonight Alive’s Jenna McDougall, who once dated a member of The Bride. “We took a lot of chances using some pop/punk parts and having singing on there, which you would never hear on a Bride song,” Schultz said. “I’d really describe it as a mash of all good musical genres but it is still a hardcore album.” The Bride boys had extra pressure to cope with before the release of their debut. Two days before signing with UNFD, President Rd mysteriously appeared online, creating fears they would be dropped. “We sort of freaked out because it was five weeks before our release date and we thought we’d get in trouble,” Schultz said. Within weeks President Rd could be found on more than 100 websites, giving the impression that it might have been a record company tactic, however the instigator was eventually tracked down. “It was this kid in Sweden, but I don’t know how he did it,” Schultz said. “I just hoped he liked the album.” WHO: The Bride WHAT: President Rd (UNFD/Warner) WHEN & WHERE: Saturday (arvo), St John’s Hall Sutherland; Saturday (evening), Nowhere, Gaelic Club

“I guess we were together for a long time but [have] never been completely serious and focused about it,” Potter admits. “We’d recorded maybe three little collections of demos and lots of other little home recordings and stuff as well, but they were all just, ‘Oh we may as well do some recording now we’ve got some songs.’ We would tour, but it was just for fun; we would never really promote that much, just to get on the road and play some shows. When it finally came ‘round to the album, we decided that… yeah, well I mean, if you’ve been together for almost five years and you haven’t done an album, it’s probably about time.” The response to the album was strong enough to keep the band touring and Nikko followed it up in December that year with their Live At The Tote EP. It turned out to be an important release for them because it changed the way they’ve approached recording. “That’s one of my favourite recordings of the band, the Live At The Tote EP,” Potter reckons. “I think I prefer that to The Warm Side. The songs from The Warm Side – because we’d been playing them for years, while there wasn’t a lot of structure, they were well rehearsed and performed. These [new] ones, while they’re stronger songs, they were performed with a bit more life – the band in the one room trying to get a good take, and that’s what stayed.” The “new ones” referred to are the songs Nikko have already recorded for their forthcoming as-yetuntitled second album, which they’re hoping will be out in March. To keep things ticking over, they’ve lifted two songs from that album and released it as a very limited double A-side 7” single, About The Spirit/Smoke Alarms, their first vinyl release. 46 • THE DRUM MEDIA

By the end of the ‘90s, Manticore had run its course and since turning her away from practising Whitney Houston songs in her bedroom, Pinnock was determined to form a band with Watts. “He came up to me in the street as he was getting his hair shaved off and said, ‘Do you want to hook up and play some songs?’ And I just said, ‘Hell yeah.’ He’d had this idea, after seeing Grinspoon play in Albury, of writing acoustic tunes with a chick singer and we played heaps of acoustic gigs in Wagga Wagga; these songs that we always envisioned would sound like they do on the [debut Heaven The Axe] Sex, Chugs And Rock’N’Roll CD, so in our heads we were rocking out like crazy people on acoustic guitars,” she laughs.

“Because the songs I always write on acoustic guitar, they always have that I guess more basic pop structure. It’s been quite a journey for me because, being I guess the primary songwriter, Steve and the boys, they have such a huge appreciation of metal – their favourite bands are Napalm Death and Slipknot and bands like that, where there are no rules when it comes to structure and melody. That’s been something I’ve really had to learn and educate myself about, you know, in appreciating what metal is as opposed to what pop is. Musically we’re very different with different ideas and different likes and dislikes, but you have to look to each other and come together because it works so well there’s something magic about it.” Which is why a song about Nirvana still works so well within the Heaven The Axe context. So not metal and not pop but both without being glam metal either, a point reinforced recently when they toured with Swedish glam rockers CrashDïet. If anything, the best fit touring-wise so far has been opening for Rose Tattoo at Angry Anderson’s request. So perhaps they’re really Aussie Rock for the new Millennium. WHO: Heaven The Axe WHAT: Sex, Chugs And Rock’N’Roll (Independent) WHEN & WHERE: Friday, Annandale Hotel

THERE’S A NEW BREED OF POP STARLET IN 2011 AND STEREOSONICBOUND LUCY LOVE IS AMONG THEM. TROY MUTTON INTRODUCES THE FEISTY FASHIONISTA.

BRISBANE FOUR-PIECE NIKKO ARE RELOCATING TO MELBOURNE FOR A FEW MONTHS TO SEE HOW THINGS GO. SINGER, SONGWRITER AND GUITARIST RYAN POTTER TALKS TO MICHAEL SMITH ABOUT IT ALL.

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“We couldn’t get in but I saw through the door Manticore playing and the room was just filled with these hairy biker-looking dudes and really hot women; I’d never seen anything like it anywhere in my life. I saw Steve [Watts, guitars] on stage singing and riffing away like a motherfucker and he was wearing footy shorts, work boots and no shirt and he had long hair and my jaw dropped. I’d never heard that sort of music before, so I thought from that point he was pretty much ‘The One’. He was way out of my league but I was completely smitten with him from that moment on.”

Unable to find the right musicians in Wagga to translate those acoustic songs into the hard rockers they were hearing in their heads, Watts and Pinnock moved to Melbourne and hooked into the metal community there Watts had got to know to during his Manticore days. Even so, what became Heaven The Axe was never going to be a metal band.

WE LOVE LUCY

HEADING SOUTH

yan Potter originally put Nikko together up in Brisbane back in 2005 with guitarist Jackson Briggs, bass player Sam Whiting and drummer Blair Westbrook, but it took nearly five years before they finally got around to releasing debut album, The Warm Side, in May 2010.

“Wagga Wagga was where [early ‘90s extreme metal band] Manticore was based,” Heaven The Axe singer Phoebe Pinnock explains. “And I was in a band when I was 16 with the guy I was dating at the time, a guitarist – long hair of course – he said, ‘We’ve got to go and see this amazing metal band, they’re so sick,’ and we’d had a gig ourselves that night but we were feeling so high we thought we’d definitely sneak into the pub.

F There’s a powerful sense of drama across the two sides of the single as each builds in its dynamic towards a propulsive climax, without losing the languorous vocal approach Potter has always used. “We always used to play some pretty heavy post-rock kind of stuff with really loud-quiet dynamics and I think that’s carried over to this next phase of our band. We don’t like to repeat ourselves too much in the songs. Each of the songs is a little story in itself, so we try and get the music to support that as much as possible and I guess those changes, whether they’re sudden or gradual, make us sound dramatic. I think the songwriting is stronger and there’s more emphasis on the lyrics and there’s stronger structure. “I try as much as I can to get the lyrics – I guess looking good on paper and well-structured and balanced – and then of course it’s about putting chords to that and then everyone in the band adding their own influences and opinions on how it should go. About The Spirit I guess is like a love song really, just blind love – believing in something, having faith in something that you might not have realised existed before. It’s always fun to sing about something and then sing about a really extreme version of it.” As for the move to Melbourne, they’ve scored a residency through December and fancied a change from Brisbane. “But,” Potter says, “We could be coming back with our tails between our legs.” WHO Nikko WHAT About The Spirit/Smoke Alarms (Independent) WHEN & WHERE Saturday, King’s Cross Hotel; Sunday, Yours & Owls

orget Lady Gaga, there’s a new, infinitely more credible, wave of young popstresses hitting dancefloors around the world. Originally pioneered a few years back with the likes of Santigold and MIA, another such artist taking on from their style is Zambia-born, Netherlands-based Lucy Love, who combines the aforementioned with pop, club and disco influences to create another unique voice in dance. Love combines her sounds with an outlandish visual aesthetic that’s hard to ignore and while she’s recently released her second album Kilo, Australian audiences will get their first real taste when she brings her insane-looking live show as part of Stereosonic, her first trip Down Under. “It’s huge that we’re coming to Australia, it couldn’t be bigger – amazing,” says the slightly nervous-sounding Love, her seemingly quiet persona in direct contrast to her in-your-face fashion aesthetic and performer antics. While she does seem slightly reserved in person, behind that is clearly a very smart young woman – her knowledge of music stems back to her DJ father, who left Zambia very early to pursue good times in Northern Europe. Of the evolution from her first album, 2009’s Superbillion, to this year’s Kilo, Love is mindful of how fans may react. “[Writing Kilo was] a very natural process whereas I thought the first album was very awkward. Writing the first songs ever you’re like, ‘What’s this? What am I writing? What am I saying? How will people understand this?’ “The second time ‘round you’re more relaxed, you know? It was a nice experience and obviously there’s a lot of pressure for the second album as the first album had a lot of grimey vibe to it. And Kilo’s a more electro-pop sound – and how will people respond to that? I’ve thought a lot about that, which you shouldn’t really think about that when you’re making music,” she ponders. “You just think about how you think it sounds and do you like what you’re making and do you love it yourself and that should be the important thing, but obviously it’s always in the back of your head.” However much she might worry about fans, she remains a distinct individual, highlighted by her crazy fashion sense and over-the-top fluoro-rave live shows. It’s definitely a part

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of the job she really enjoys. “My visual look is my image. That will keep with me forever. For me at least, when you think about Lucy Love, you should think about the image that goes with it. So I tried to create music that will last forever with matching images, but it’s something that I’ll always have to be on top of in a way, because if I’m touring and I have stage outfits and stuff I can’t be performing in them for the next two years, I always have to make new stuff.” And of course, the live show is where it’s all on the line. “If I didn’t enjoy performing live, I don’t think there would be a lot of fun in it for me. It’s a challenge, you have to kind of win every time. You have to convince the audience and create a party, and you know people might not be up for it. But it’s the most ultimate challenge that you could ever have really and it’s just fantastic to see fans. It’s the best feeling ever.” And so it’s time to start getting excited for her crazy live shows when she rolls in to Stereosonic, joined by collaborator and producer Yo Akim. “I’m looking forward to it; it’s going to be great. I’m coming with Yo Akim… And I’m coming with two dancers. Obviously I can’t bring the whole live set, but I’m bring the costumes and the essence of Lucy Love. You can expect a great show! Powerful, with a lot of energy. You can’t miss it, you’ve gotta see it live.” WHO: Lucy Love WHEN & WHERE: Saturday, Stereosonic


THE DRUM MEDIA • 47


SINGLES/EPS WITH ROSS CLELLAND

EXPATRIATE

ON THE RECORD

Miracle Mile Dew Process

Going for truth in titling, Expatriate currently call Berlin home, having taken an itinerary for Australian bands dating back to the ‘80s. Which, like so many, seems to be where the music is coming from too. But it’s not the Cave/Howard nexus supplying the influences as perhaps expected, but more big beat drum machine programmed pop akin to Kids In The Kitchen after they’d gone to university and recovered from a drug habit. Does have some swing, and some brains. And probably worthy of some pride when they come home.

EAGLE & THE WORM All I Know Cotillion

The wonder is how they got them all in the same room. For the way too long ‘featuring…’ line has E&TW’s basic eight joined by the recently-present Hypnotic Brass Ensemble and about-to-be-present Juiceboxxx in something that ends up sounding like the soundtrack to a South American travel documentary sponsored by Pan Am somewhere around 1962. The parade clatters by, then said ‘Boxxx’s element adds a fairly unnecessary rap bit just for variety, before the horns crank back into life.

KURT VILE So Outta Reach EP

Matador/Remote Control With possibly the best music referencing pun-as-name since the punk era (ask your modern history teacher), Vile makes an oddly compelling mix of slacker fuzzy noise where he almost seems to be attempting to hide how good a songwriter and guitarist he is, with some nods towards unfashionable times past – Los Angeles around 1974 maybe. Across the six tracks of this, his noise and thoughts unfurl, with a cover of Springsteen’s Downbound Train that should rile me actually being a bit special in its way.

CHICKS WHO LOVE GUNS

JOE HENRY

VOYAGER

WITCH HATS

Anti/Warner

Riot!

Longtime Listener

The wonderful thing about Joe Henry’s releases is the unexpected nature of his musing, whether it’s in the alternative country genre or the jazz-tinged blues that he lazes around in. Henry has worked as both producer and artist and made a name for himself over the years with many of the elite musicians in the industry. On Reverie, Henry seems inspired by the ideas of time and distance, compressing these songs into fragments much like a Tom Waits song that indulges both words and instruments.

Despite being ignored by many in their homeland, Australian heavy acts have continued to make a sizeable mark overseas recently. Whether it’s metalcore (Parkway Drive), death metal (Psycroptic), blackened thrash (Deströyer 666) or hard rock (Airbourne), there are local products who can genuinely hang with the best.

There was buzz surrounding Witch Hats during their stint as a main support for The Drones’ 2008 USA tour which also brought the band more recognition domestically as they continued touring in 2009. Culminating in a memorable last minute slot at the Meredith Music festival that year, it was surprising then that this eventually led to sort of dropping off the musical radar. Reproducing the post punk sound of bands such as The Birthday Party during a period when it probably wasn’t commercially viable to do so, a couple of lineup changes since coming together in 2004 have finally led to the second album from these underground Australian rockers, their first full-length since 2008’s critically lauded debut, Cellulite Soul.

Reverie

The Meaning Of I

Henry creates a messy sound with acoustic instrumentation and draws a smoky sound out of some of the more jazz-tinged tunes. The waltz-inspired Strung and the bluesy Sticks and Stones are central to this contemplative album that draws from the American traditions of music and his own experiences. The rawness at heart of the recording allows Henry to explore his own vision of time and space. If you are looking for obvious hook-laden songs then you will end up being disappointed here. The ability to be indulgent and leave songs opened ended is the strength of this album. On tracks like Grand Street, Henry uses nostalgia and history to create a feeling for something remembered in the past. On After The War, more memories of the past and musical history in America come to the fore, making it an indulgent yet remarkable piece of music. If you have only just discovered the music of Joe Henry then take a step back and listen to some of the albums he produced to get an idea of where this modern genius is heading. Reverie is a splendid affair.

Perth’s Voyager deserves to be included in such illustrious company, for their heavily European-influenced, vastly melodic prog-metal is winning numerous plaudits in foreign lands. Now on their fourth album, the quintet appears comfortable with their identity, crafting slick, hook-laden songs with tinges of everything from gothic metal to electronica with occasional death grunts adding further dynamics. Voyager set the bar high with their previous two releases, both boasting numerous anthemic, potent choruses. The Meaning Of I doesn’t deliver as many knockout melodies, but maintains an admirable consistency. Daniel Estrin’s vocals gel effortlessly with ex-TesseracT frontman Daniel Tompkins on The Pensive Disarray. Estrin also leaves a soulful stamp on the haunting He Will Remain. The soaring Momentary Relapse Of Pain sounds like the missing link between Soilwork, Amorphis and Dream Theater. Seize The Day is the standout; the entire band injects their most energetic performances of the record, culminating in a stunning solo from guitarist Simone Dow. The title track channels their inner Meshuggah and on Iron Dream, they pay tribute to fallen Type O Negative frontman Peter Steele, incorporating elements of the late vocalist’s style but adopting a far less gloomy approach overall. It’s a celebration, not a wake. The Meaning Of I is an assured, accomplished record. Check them out now before they head overseas for good. Brendan Crabb

Pleasure Syndrome

Probably their most accessible offering to date, Pleasure Syndrome is as close to pop as Kris Buscombe’s haunted and tortured voice is likely to get, and although it’s a seemingly conscious departure from the broken sounds of the Hellhole era, it does demonstrate a progression of the Witch Hats sound. Still in abundant supply are the scratched and bent guitar sounds, repeated bass riffs and the obsessive, ominous atmosphere. However songs such as The Bounty and In The Mortuary suggest a softer side emerging, despite the latter’s song title. Not ones to dwell on anything fluffy for too long though, there are plenty of great tracks here to appease fans of their older stuff and appeal to new listeners, tracks such as Mahoney and Slow Eyes. Recorded and mixed by Casey Rice, who has worked in the past with the Dirty Three and Tortoise, Pleasure Syndrome is the type of skewed album that, despite not dominating the airwaves, does gets better with numerous listens. Adam Wilding

Sebastian Skeet

Stutter Green Punk rock! No, really, it is. Staccato cardboard box drums and trebly guitars coming at you like an under-aged kid who’s pinched some UDL Rum & Colas from the local bottlo, downed ‘em and is now in the midst of falling off their skateboard at speed. Cass Navarro is the point of distinction. His growl almost becomes a croon at points, but still sounds likes he’s pissed off about something enough to laugh about it. Now boys, go and put on your best stained T-shirts, muss your hair a bit and take over the world.

PORTISHEAD Chase The Tear XL

Should you be requiring some further souvenir or remembrance of your wander through the Parramatta Park twilight the other week may we suggest this item. On proper big and thick vinyl, this almost rocks along by Portishead standards, although Beth Gibbons’ voice remains a thing of absolute beauty and sadness. They are a one-off, even if you have to wait a decade each time. This also allows your conscience some solace, proceeds going to Amnesty to assure those in solitary cells have something good to listen to.

DESERTERS Lemon Kicks Popboomerang

And a refreshing sorbet to finish. Luke Thomas’ talent for a pop song hook has never been in question, back to the The Pictures and beyond. But, as is the way of pop these days, being merely bloody good might not quite be enough. So, what to add? How about yet another of Barnesy’s offspring? In this case, Elly May who, like her siblings, has come a long way from The Tin Lids. Thus, good song becomes really sweet mix of voices, and story, and guitar, and your foot tapping automatically along with it.

ATLAS SOUND

MEEM

J.COLE

4AD/Remote Control

Non Label

Roc Nation/Sony

Bradford Cox of Deerhunter and Atlas Sound has unfairly garnered a reputation as an eccentric, quirky individual and musician. Sure he jumps around stylistically, likes obtuse forms and shapes in his music and he can be a prickly interview subject. But when you get into the music he is hardly charting new territories. His work with Deerhunter is decidedly indie rock while Atlas Sound is the vehicle for Cox’s solo work and a chance to explore introspection in a quieter environment.

Meem’s 2008 EP, The Bumpy, a release filled with tacky flamenco-style beat loops, should have never escaped the elevator sound system. His five-album-strong body of work has not been indicative of his clean skills as an experimental producer and electronic artist until now. The new release from the Sydney beat-maker, Monsters Don’t Sleep OK!, is a solid fusion of diverse genres, cultural flavours and eras in music, resulting in a slick, funk-infused collection of songs. Meem’s ability to flawlessly coalesce smooth grooves, jazz, punk and ambient genres, cements him as a pioneer of funk and an inimitable Australian artist.

Although the electronic compositions are not particularly complex, it is the simplicity of the record that makes it so listenable and inherently fun.

Not since Dr Dre begat Eminem or maybe Eminem begat 50 Cent has a rapper received a greater leg up into the game than Jermaine Cole. Plucked from mixtape obscurity by the great Jay-Z and signed to his Roc Nation label, the clean-cut, fresh-faced North Carolina college boy was immediately set on a road to stardom and he didn’t disappoint, dropping two album-quality mixtapes (The Warm Up and Friday Night Lights) before arriving at his debut album proper, Cole World: The Sideline Story. With the words ‘instant classic’ being bandied about, standards were set impossibly high and, not surprisingly, Cole World hasn’t quite lived up to the hype. That is not to say the set is a complete disaster by any means; in fact it could be close to the debut of the year, Cole flexing his muscle both on the mic and behind the boards, as he did on those mixtapes. Justifying the love is first single, Can’t Get Enough, with its subtle -fro-beat backing, the Kanye-sampling Work Out and Breakdown, on which Cole opens up about his parents over a startling, intricate drum pattern that seems constructed from at least four different breaks. Yet the majority of the production, with lashings of live (or live sounding) drums, pianos and guitars, is subtle to the point of near-blandness, Cole dressing it with a lyrical schizophrenia that sees many playa-isms creeping in with his new found stardom alongside those ‘conscious’ moments such as Lost Ones. Of course Jay joins the party, yet Mr Nice Watch is spoiled by a grinding electronic beat and run-of-the-mill big willie sentiments. Anointed or not you get the feeling that J. Cole is only finding himself on this first album and it is not impossible to see him growing to inhabit the space between Jay and Nas, if he is good enough.

Ava Nirui

Darren Collins

Parallax

Parallax finds Cox dedicating the album to Broadcast’s Trish Keenan and as such he imbues the record with some dark and dreamlike folk sounds. Many of the songs are built on simple repeating loops and drones with Cox using his voice to add colour to the music. Though there is the sonic theme of nocturnal imaginings (Cox even sings “when we go to sleep we’ll have the same dreams” on Te Amo) Parallax has a surprisingly clean and fresh sound. It isn’t submerged in lo-fi murkiness, the songs sparkle and sound light in the speakers. The title track and Terra Incognita are shimmering examples of the psych folk that Cox does so well before he turns to darker places like the dubbed out U2 sound of Modern Aquatic Nightsongs. Praying Man echoes the tripped-out vibe of The War on Drugs and Kurt Vile while the bubbling psychedelia of Doldrums reminds the listener that Cox’s experimental tendencies are never far from the surface. The two highlights of the album are the super catchy Mona Lisa and the jangling shuffle of Angel Is Broken, both examples of how great a writer of pop hooks Cox can be when he sets his mind to it. Parallax isn’t necessarily a great album; more a case of a good album with a handful of great songs on it. It does show Cox carving out more of an identifiable niche for his music though and the resulting songs are becoming better and better. Chris Familton

48 • THE DRUM MEDIA

Monsters Don’t Sleep OK!

The record kicks off with bizarre grimey dub in Mr Scruff’s Nice Up The Function, featuring the unique vocal stylings of witty South London rap artist Roots Manuva. The scattered multi-layered bellowing vocals against dub-groove instrumentals make the track simultaneously danceable and accessible. The mood simmers dramatically with Funky Custard and Funky Monsters On The Train Way Back Down Home, which showcase Meem’s impeccable skills as a sample artist and are permeated with intermittent cowbells and ambient vocals. The tempo picks up with ‘90s disco-influenced Get Down Party, which features vintage synths, defiant rap verses from Raashan Ahmad and a catchy singalong-style chorus. Pack Yr Pahnina melds an Indian chant-style overture and Mediterraneaninspired strings with a heavily percussive jungle beat. The record closes with Oahyeah and Dubbilly, light-hearted tunes infused with synthesised sound effects, spliced vocal samples and consistently funky bass lines.

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Cole World: The Sideline Story


Drake is on the ascendant. Wayne, always known for his relentless drive and productivity, sounds past it by comparison. His presence here is an obstacle in the way of us hearing more Drake. While both defiantly “young”, Take Care sees the student surpassing the master. What we’re left with is a landmark. Take Care is a moment frozen in time. Drake, always promising and occasionally excellent, has delivered something that realises his potential and cements his place as the most exciting commercial rapper out.

ROYAL HEADACHE

TONIGHT ALIVE

R.I.P Society/Fuse

Sony

For their debut LP Sydney-siders Royal Headache enlisted Mikey Young of Eddy Current Suppression Ring and Owen Penglis of the Straight Arrows to produce, and it shows. It’s bass heavy, and the bass passes through the ears smooth enough but rumbles the guts. The drum kit sounds Spartan; bare and perfect for the lo-fi vibe. Guitars dance and jangle underneath that croon in a manner befitting the Husker Du and Guided By Voices comparisons being bandied about (for the record, those mourning the loss of fellow locals Halal, How Are You? will find plenty to enjoy here). It’s fuzzy and murky and makes you want to slow dance and drink cheap wine and get bad tattoos and start that book – but only after another glass of that rough red – and grab a tambourine and grow your hair and hit the beach. Put simply: it’s the soundtrack to a damn good time. The songs are simple enough, the charm comes in the delivery, how it is captured and that crass carefree attitude that oozes from it.

Tonight Alive were busy crafting pop punk in Sydney’s west and before too long they’re getting comparisons to international heavyweights like Paramore – deserved as much for the quality of the songs as the fact that both bands are fronted by a woman – and signing to Sony. The next obvious step? Head to the US for a couple of weeks and record with Mark Trombino (at his request no less), the dude responsible for Dude Ranch and Bleed American.

What Are You So Scared Of?

Bringing Mark Hoppus in to trade verses with Jenna McDougall on Thankyou And Goodnight is the icing on the cake. There’s pop punk royalty here for a reason, and far from a tacked-on namedropping device it works incredibly well as they back and forth about a relationship turning sour.

And the man that listens to Honey Joy and doesn’t crack a smile is one seriously jive turkey.

What Are You So Scared Of? sets the mark for a pop punk debut; hard to fault and pretty damn easy to sing along to – albeit with a little less chutzpah (and melodic accuracy) than McDougall. Even more surprising for a debut, there is no filler here and no shortage of singles to follow Starlight and Let It Land, Reason To Sing and To Die For obvious contenders – fast, rousing and unforgettably melodic.

Dave Drayton

Dave Drayton

Forget the hype, forget them selling out GoodGod, forget the fact the members were/are in rad (and notably different) bands like Eucalypt and Nintendo Police and just fucking listen to this. You won’t regret it.

20

DRAKE Universal

DID YOU KNOW

Moods: Atmospheric, downtempo and emotional.

Take Care Drake’s 2010 debut album’s title was prescient; it was called Thank Me Later. With Take Care, his second effort, the time for thanks has come. Take Care is an epic saga; the journey of a young man trying, and failing, to add a little meaning to a life that has thus far been a shallow journey from success to even greater success. It’s a delight to revel in this world of rabid fans, insatiable young women, lucrative deals and amazing parties. This is Drake right at the top of his game. Pride is appropriate. The fall can come later. Where to start? Firstly this is A Very Long Album. Putting out something that pushes towards an hour and half is pretty ambitious. It’s a tribute to our host that we don’t get bored. Ever. Huge tracks like Headlines and Lord Knows are punctuated by wonderful interludes like the seven-minute masterpiece, Cameras / Good Ones Go. Dance floor heaters like HYFR are contrasted with understated gems like We’ll Be Fine, arguably the album’s best, featuring arguably the album’s best line: “She said, ‘you’re such a dog.’ I said, ‘you’re such a bone.’” Lil Wayne, Drake’s labelmate and mentor, makes a few appearances, and they are revealing.

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LIVE

Length: 18 tracks, 80 minutes.

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• Drake (Aubrey Drake Graham) first entered the entertainment VDindustry aged 15 playing the role of Jimmy Brooks in 139 episodes of teen show Degrassi: The Next Generation. His acting career continues to this day, his next film role voicing Ethan in Ice Age 4: Continental Drift.

D

It was a top move from these five talented young musicians; What Are You Scared Of? is slick, catchy and incessantly melodic. It’s given the polish you’d expect from Trombino; an epic intro track, the string-laden quasiballad Safe & Sound is as gently enveloping as On A Sunday and the mix throughout is brilliant. Compact, punchy, pop-driven punk (and it shows off drummer Matt Best, an absolute powerhouse, brilliantly).

FACT FILE

D

Distant And Vague is all California chords and gentle crooning, the tremolo terror at the end of album closer, Pity, is top notch, while the feedback and following chords in Psychotic Episode capture all of puberty in a few seconds of ‘soul punk’ garage rock.

James d’Apice

VD

Royal Headache

• Once again Drake has eschewed stereotypical rap lyrics, forgoing boastfulness and self-promotion for introspective and melancholic contemplation on subjects like romance, family and the pitfalls of fame. • Despite the enormous success of Thank Me Later, which dominated charts worldwide and popped up in numerous ‘Best Of 2010’ lists, Drake has said he felt it could have been better. He told BBC Radio 1 earlier in the year “Thank Me Later was a rushed album. I didn’t get to take the time that I wanted to on that record. I rushed a lot of the songs and sonically I didn’t get to sit with the record… Once it was done, it was done. That’s why my new album is called Take Care, because I get to take my time this go-round.”

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Sun 10am-4pm Mon-Fri 9am-5:30pm Sat 9am-4:30pm THE DRUM MEDIA • 49


THE HEAVY SHIT THE VEIL

UNDER THE VEIL

The Veil launch their debut album Ghosts Of Memory this Friday at The Wall, so we checked in with guitarist/ vocalist Che DeBoehmler to get the lowdown. How would you describe The Veil to your average punter? The Veil’s sound is reasonably hard to categorise but distinctive and easy to recognise once heard. The range of influences is broad, but amongst others we draw on elements of doom and ‘80s to early ‘90s post-punk/ goth, alongside early ‘90s death and black metal, ‘60s and ‘70s hard rock/proto metal, British alternative rock bands that pre-date the more recent “indie” era, and dark folk. What was the recording process like for Ghosts...? The production of rock and metal albums in recent years has been far too sterile and compressed. I think it’s only a matter of time before these trends will start to date badly, and I guess you could say we tried to avoid this “modern” approach. The drums and initial scratch tracks were recorded to tape, and overall we tried to take an honest approach to the recording: there are no programmed drums, no auto-tuned lead vocals, no programmed keyboards, and all guitar and bass tracks were recorded and played through real, (very loud!) amplifiers and cabinets with no modelled tones or re-amping. You don’t often see heavier bands listing an oboist in their ranks... What’s the deal there? I had been hoping to be able to use some additional instruments outside the standard rock set up for some of the material when the band was coming together. Oboe wasn’t in the original ads, but it was definitely near the top of the wish list given how effectively it had been used by Siouxsie & The Banshees and Swans, and on the Nick Drake album Bryter Layter. When Megan (bass, vocals) made contact, coincidentally she had previously been a professional oboist! Logistically it’s difficult to incorporate the oboe lines live, but it’s something we’ll be working at more in the future.

METAL AND HARD ROCK WITH CHRIS MARIC

Those Japanese hardcore/thrash merchants from Shady Glimpse that were mentioned last week are bringing it to the Stag tonight along with Metal, Teratornis and Troldhaugen.

The great Henry Rollins will be back next year to enhance and open minds with his marathon talkfests. If you have never seen the ageing alternative icon with mic in hand, I suggest you book a ticket. He will be at Newcastle Panthers on Tuesday 24 April and will then hit the York Theatre at the Seymour Centre for the next two nights. Kicking off their new year touring as part of the Big Day Out, Parkway Drive have announced a run of regional dates for February and March. The Sick Summer II Tour runs for two months and takes in a whole stack of towns that are usually pretty gig starved. Port Macquarie, Bateau Bay, Sutherland, Penrith, Dubbo, Nowra, Canberra and Albury before running into Victoria and SA. All Shows are All Ages and you can get tickets from those Moshtix people now. Sydney Prog/Metal band Modern Murder have just finished recording at Machine Men Studios and are gearing up to release their self-produced debut album, No Cadence in the very near future. The video for the first single Dead Gentlemen is doing the rounds and you can catch them live next Friday, 2 December at The Capital Square Hotel. Joining them on the night are I Am Duckeye and Pecking Order. Just like last week, there is a shit load of live action happening around town this weekend…

FRIDAY

Heaven The Axe are rapidly gaining a reputation as Australia’s toughest female fronted hard rock band and they have just released their kick ass debut album, Sex Chugs & Rock N Roll. They feature some of the absolute cream of the Aussie heavy music scene, such as former members of Damaged, Manticore, The Berzerker, The Amenta and many more, the band is also fronted by the very outspoken firebrand of a lead singer Phoebe Pinnock, who makes many other female rock singers on the Australian scene seem like shrinking violets. The guys, and girl, packed out the Stag in July and are returning to Sydney for their biggest show yet. Head down to the Annandale from 8pm for their official album launch. They will be joined by some quality rock n rollers from Aterise, Vanity Riots and the always awesome Devine Electric. Canberra’s got it going on again. The Basement has a feast of metal on this evening featuring Daemon Foetal

www.utopia.com.au

HELM Harvest, Lynchmada, Tortured, Chud and Festering Drippage. All for only 10 bucks too! Over at the Gaelic, Helm will be putting on their last gig of the year along with mates from Breaking Orbit, Beggars Orchestra, My Secret Circus and Adrift For Days. The Veil’s debut album, Ghosts Of Memory, is now complete and the guys will be launching it at The Stag this evening. Appearing as a special guest during their set for a handful of songs and reprising her excellent violin tracks from the album will be Samantha Kempster of Myraeth, who will also be playing a full set. So too will be Futility and Katabasis. Meanwhile out at The Lucky Australian Tavern in St Marys, there’s another All Ages metal assault happening. Havoc will headline a five band bill that also includes Jaded Empire, War Faction and Winter Gaunt. Kids under 12 will get in for free and if you mention one of the bands to the door person on your way in, something special might happen...

SATURDAY

Rounding out their month of Saturday’s at the Beresford Hotel, the Kill City Creeps take the stage one more time at 9pm. Reckless Vagina have got the opening honours. The Sando is playing host to East West Death Grind Fest 3 which as usual displays a diverse selection of Australian Death Metal and Grindcore. This year’s line up includes Victoria’s The Day Everything Became Nothing, Sydney’s most free thinking band, Mother Eel and a slew of familiar and not so familiar names. Daemon Foetal Harvest, Hell Itself, The Mung, Tortured, Festering Drippage, Granny Fist, Disciples Of Torture, Lower Back Problems, Autolysis and Putrefaction. The first 100 payers will also get a free Grindhead Records CD.

WAKE THE DEAD

Sydney psychedelic progressive polymaths Serious Beak are launching their debut album Huxwhukw tonight with a free show at the Lansdowne Hotel. Say that album name again? Hard to pronounce but easy to drink. The Huxwhukw is the supernatural long-beaked cannibal bird and servant to Baxwbakwalnuksiwe, the Cannibal-at-the-North-end-ofthe-world in Kwakwaka’wakw mythology. Huxwhukw uses his long, snapping beak to crack open the skulls of men to eat their brains and pluck out their eyeballs. Got that? If you like instrumental mind-melting, toe-tapping, psychedelic, progressive and polyrhythmic discordant music, you’ll love this! Joining the Beak are Pirate, and the meandering cinematic post-metallers Dumbsaint. The brilliant Gay Paris are heading out on their ‘Totally Gay Dammit East Coast Tour’, co-headlining with Totally Unicorn and Adelaide’s God God Dammit Dammit. It’s been a huge year for all three bands, with all releasing albums and touring their arses off all over the country. In a pretty cool and unique move, the bands have come together to record the Totally Gay Dammit EP that features their own stuff as well as some choice covers and it will be available on the road. Tonight, the tour rolls into Newcastle’s Hamilton Station Hotel.

SUNDAY

It’s that time again. The Sydney Rock ‘n Roll & Alternative Market will be on for the final time this year at the Newtown Jets Sports Club which is just next to the Valve Bar. Expect to find a great array of stalls including; vintage, rock‘n’roll, burlesque, ska, roller derby and alternative clothing, jewellery and accessories, records, CDs, collectables, vintage wares, art, comics, candle makers, homewares, handmade products, pin up makeovers, DVDs, hair pomade, kid’s rockin’ clothing, a jumping castle and a whole lot more. And YES, I will have my own stall this time with a stack of metal CDs, t-shirts and merch that’s all gotta go – so come and make me an offer! Live entertainment on the day will be courtesy of The Hell City Glamours, Ezra Lee & the Steel City Band, Chucks Wagon and Chickenstones plus MCs and DJs Wolfman Dan & the Rockabilly Rhino (Liquored up and Lacquered Down) and Jack Shit (FBi). heavy@drummedia.com.au

PUNK AND HARDCORE WITH SARAH PETCHALL NUCLEAR SUMMER

If there’s one thing we like here at Wake The Dead, it’s tour announcements, and this past week there has been A LOT of them!

IGGY POP

IGGY POP AT THE PALLADIUM

Australians were spoiled by the prince of punk, Iggy Pop, in full action at the Big Day Out earlier this year, and since then he’s stayed on the road for most of the year continuing with his Raw Power tour. While showgrounds in summer are hard to beat, Iggy and the Stooges announced earlier this year a plan to play the Hollywood Palladium, a venue that’s seen a range of music that’s probably still not quite been enough to prepare it for his five foot one awesomeness. The show was originally set for early September, however when Iggy broke his foot during a headline performance in Romania (and specifically, during a performance of Search And Destroy) it was cancelled. At the time Iggy said via The Stooges’ website, “I hate this, I hate like hell to cancel or postpone anything. I only saw the doctor because it hurt so ******* much and I couldn’t fix it myself,” and he made sure promises of rescheduled shows were issued closely behind the implied profanity. Pop and the Stooges are trying again in a bit over a week on December 1, with Le Butcherettes (an LA based, Mexican formed band who will then head to Oz to support Omar Rodriguez Lopez), Whitey Kirst and The Web Of Spider in support spots. While tickets are officially around the $35 US mark, one online seller was offering to provide them for a cool $515. It will get you a ‘VIP private table’ (and for that much, at least a fondle of the broken foot, you’d assume), and we’d suggest perhaps a private table will also offer viewing of Iggy’s um, privates, but over the years, let’s face it, Iggy’s given that business away for much less. 50 • THE DRUM MEDIA

First up, Parkway Drive have announced a MASSIVE regional tour to follow on from their appearance on the 2012 Big Day Out Festival. Spanning February and March, the Byron Bay act will bit hitting regional centres up and down the East Coast to celebrate summer basically (it is called the Sick Summer II Tour after all). “Summer time in Australia. Is there any other place you’d want to be?” frontman Winston McCall comments. “For us it means a chance to hit the road in the country we love and play as many of those places we don’t get to stop at as much. We figure the major cities have had their chance so its time to bring the show back to regional Australia, and lets see how crazy the small towns can get. These tours always end up some of the funnest shows we play anywhere. Sweaty venues, stage dives, sing alongs, beach hang outs. Sick Summer indeed. Grab a board and be part of the mayhem.” You can catch PWD at Sutherland Entertainment Centre on Friday 24 February and then at Penrith Panthers on Saturday 25 February. There is also a Canberra show at the UC Refectory on Thursday 1 March. All shows are all ages and tickets are on sale now. For the better part of the last 25 years, Henry Rollins has been an institution within the realms of punk and hardcore. From his seminal work as the vocalist of Black Flag to his career as a spoken word artist, the one constant has always been travel. And not usually to the most conventional of places. From Siberia to Senegal, Burma to Bangladesh, Rollins’ curiosity and hunger for experiences based on knowledge, his no-holds barred delivery of his observations and opinions, as well as his wicked sense of humour make him one of the most inspiring and interesting commentators of this generation. Not to mention that he’s simply just bad ass! I’ve mentioned it previously, but Rollins is touring again in 2012 for The Long March Tour. This time it’s a month long odyssey around Australia, taking in the sights, talking almost every night and visiting a lot of places, regional as well as major cities. So Sydney (and surrounds), what do we get? On Tuesday 24 April, HR will be doing his thing at Panthers in Newcastle; on Wednesday 25 and Thursday 26, he’ll be at the York Theatre at the Seymour Centre in Sydney; and on Sunday 6 May, Henry will be at The Street Theatre in Canberra. Finally, on Tuesday 8 May, there is a show at IPAC in Wollongong. All shows are 18+ and tickets go on sale Monday 28 November 2011.

While we’re on the topic of extensive tours of Australia, veteran Californian punk band, Guttermouth, have announced that they will be embarking on a massive East Coast tour this January and February – 14 shows all together. On Saturday 21 January, Guttermouth hit the Gaelic Club in Sydney before embarking on a run of coastal shows including Sunday 22 January at the Beachcomber Hotel in Toukley and the Marlin Hotel in Ulladulla on Monday 23 January. Then the tour heads a little further north to The Patch in Wollongong on Tuesday 24 January and Bizzos in Caringbah on Wednesday 25. The final NSW is at the Cambridge Hotel in Newcastle on Thursday 26 January. Tickets are on sale now and all shows are 18+. Brisbane’s Nuclear Summer have a ten track album that they’re about to drop through local label Monolith. If you’re a fan of that kind of post-punk hardcore sound then this is for you! Not to mention that it has some of the best production credits, including having been mixed by Mike Deslandes (Coerce) and mastered by Pelle Henrisson (Refused, Poison The Well). Anyway, the band are hitting the road in a few weeks in support of the album and just generally causing a ruckus. You can catch them on Wednesday 7 December at Bar 32 in Canberra; at Hot Damn in Sydney with Sights & Sounds (Canada) on Thursday 8; on Wednesday 14 there is a Newcastle show at the Hamilton Station Hotel with Safe Hands; and on Friday 16 at The Patch. The show that I’m most looking forward to, however, is at Jura Books in

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Sydney (the only all ages show) on Thursday 15 with Lo! and Fixtures. Check out the band through their various social media applications and head along to one of the shows. While Gallows have been touring the US with new frontman Wade Macneil (ex-Alexisonfire), they also have announced the release of a new EP titled, Death Is Birth, due for release next month. “Death Is Birth, we’re going back to where we started and working with people we consider Gallows family,” explains guitarist Laurent. “The EP is being released on our long-term friend Faz’s record label Thirty Days Of Night and the songs were recorded with The Bronx’s very own Joby Ford“. “For me this record builds on what I’ve always loved about Gallows,” adds Wade. “No posturing. No pretence. Four songs like a kick in the teeth.” The EP will feature four new tracks and will be released locally through Shock on 9 December. Former writer of this column, Mr Stu Harvey, hit me up last week to get me to remind all of you to vote in the annual Short Fast Loud Best of 2011 listener’s poll. So what you have to do is email Mr Harvey at shortfastloud@triplej.abc. net.au with your top 10 releases of the year. And then on the final show of the year (Wednesday 7 December, I believe) Stu will count down the Top 40 albums of 2011 as voted by you all. So get your thinking caps one and send your emails right along. wakethedead@drummedia.com.au


SUMMERNATS 25

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AUSTRALIA'S BIGGEST HORSEPOWER PARTY


GET IT TOGETHER There’s a funny tension when you’re a fan of something Not Mainstream. (Where’re my Community heads at?) On the one hand there’s the frustration that there aren’t more people who share our excellent taste; the thing we like is the thing everyone should like, because we’re smart and we know what everyone else should like, right? Well… Don’t forget the counterargument. Just as we rage against the unpopularity of our beloved cultural artifact, we also cling to the secret joy that we are In The Club, a club whose membership is exclusively for the super-cool and the perceptive; those who appreciate great art for what it is. I’m sure Sun Tzu, Albert Einstein or Peter “Rocky” Roebuck once said something about balance being fundamental to everything we do. They were right. If you like something Not Mainstream, embrace the tension; find the balance. Sure, your favourite artist may not be able to do music for a living, but at least you’re savvy enough to recognise his or her greatness. Few fans have had to embrace this balance like fans of Broken Tooth Entertainment, a label whose (arguably) most prominent member Ciecmate has a new album out, Chess Sounds Volume 1. Notable because it’s a chance for those of us In The Club to celebrate some more Ciecmate heaters, this offering is also notable because we have rarely heard such a range of rappers getting on Ciecers’ production. Brad Strut’s on there, and your excitement about that appearance alone will be proof positive you’re In The Club. Chess Sounds also features Termanology, Ciecmate labelmate and real life-mate NewSense, and a host of others. You’ve either already bought this or you’ve never heard of it. If it’s the latter then get to it, you’re only a few listens away from Joining The Club. Street press is where it’s at, I’ve told you before. (Check out the new, swish Drum Media iPad app if you’ve got any doubts) But – even though street press is it – other outlets do still exist for the moment, and online in particular brings with it opportunities. If you fancy yourself as a gig reviewer or gig photographer and we here at the snooty street press haven’t noticed you yet, then you may be interested to hear that ozhiphop. com are offering you an entry into getting your work published through the back door. (Gross!) You may be familiar with ozhiphop.com, one of the few genuine, organically-grown websites catering to the music we

BREAKDOWN We’re midway through the second annual Melbourne Music Week, which means by now the hangovers from the opening celebrations and launches have blurred into the hangovers from ‘laneway parties’ and ‘rooftop gigs’ and ‘DJ sets by Cut Copy and Midnight Juggernauts’. Obvious Melbournisms aside, it’s a truly excellent festival the whole country can get behind and one that should become a national, if not international, drawcard: a highly creative and inclusive showcase for various local music entities, from bands to labels and venues, bookers, shops and media. That the festival was initiated by Melbourne City Council in consultation with Music Victoria is particularly interesting and important to note. There’s no denying the council has its eye on creating a known festival and conference akin to South By Southwest and the panel responsible for programming Melbourne Music Week has embraced the interactive and ground-up approach of SXSW. The callout was made for expressions of interest from local industry and from those a broad program was developed. The Breakdown’s communications with Melbourne Music Week’s PR team revealed that interest from local industry was still strong weeks out from the 2011 festival and as such that they’re urging everyone wanting to be involved in MMW 2012 to pay attention and be in touch much earlier next year. Though still dependent on the council’s ongoing commitment, MMW looks to be an initiative that can only thrive in coming years, enhancing local music culture. A story in stark contrast to Melbourne’s success is the recent call for the federal government to “remove” the Australian music quota from the Broadcasting Services Act 1992. The call came from Commercial Radio Australia (CRA) as the Australian Communications and Media Authority (ACM) was finishing a long review of media rules this month. CRA took the chance to publicise their call even though a review of the quota was not on the cards and was not addressed in the ACMA review’s conclusions. To give an indication on what an abolishment of the quota would mean: CRA maps, from the East Coast, 11 commercial stations in metropolitan Melbourne, ten in Sydney and seven in Brisbane. It maps NSW as having 74 regional commercial stations, the largest number of any state. The quota outlines percentages of Australian music that must be played between 6am and midnight, from 25 per cent for ‘mainstream’ and ‘alternative’ stations down to five percent for ‘jazz’ and ‘nostalgia’ stations. That’s a lot of stations and a lot of airplay. 52 • THE DRUM MEDIA

HIP HOP WITH VIKTOR KRUM

YOUNG & RESTLESS

ALL AGES WITH DAVE DRAYTON

First things first, tonight (Tuesday) songwriting super group Seeker Lover Keeper play an all ages show at St Steven’s Uniting Church, Macquarie St, Sydney. It’s one of the only shows on the tour that hasn’t sold out and is well worth checking out. Another quick reminder; The Getaway Plan are in town for an all ages show at the Metro with Break Even, Gatherer and Hands Like Houses this Friday night. The Mission In Motion are playing at The Lair, that awesome little venue above the Metro, from 4pm this Sunday. They are joined by Strangers and tickets are only $15, so get on the case now.

WILEY kind of like. It is local, independent and representative but, crucially, it is not representative of you… yet. OzHipHop have put the call out for anyone who can string a few words together or do the click-click-flash dance to submit some of their work and, potentially, land a gig as a reviewer. I wish all of you the best of luck and, even though it’s not street press, we all have to start somewhere! Wiley. 100% Publishing is one of the best albums out this year (and there’s not much time left if you’re looking to take the throne!) We’ve always known Wiley had a strong, occasionally misdirected work tactic. Remember when he gave away hundreds of beats for free for no real reason? Remember how he opened up a Twitter account and quickly went insane as a result? Well, he’s got a new album due out in January! January 2012! That’s less than six weeks away. Insanity. It’s called Evolve Or Be Extinct. Now, grammatical problems with the title aside, this is very exciting news. Wiley, previously pretty unreliable, has struck a rich vein of musical form lately and, if he’s mining it as effectively as he has in the recent past, this could make our summer. If it’s a little bit of a let down we won’t need to worry: there’ll probably be another album out before winter’s upon us. getittogether@drummedia.com.au

POP CULTURE THERAPY WITH ADAM CURLEY

MATTHEW DONLEVY CRA has its argument. Last year digital radio was made exempt from the quota for the sector’s first three years of operation in order to, as ACMA Chairman Chris Chapman stated, “experiment with programming formats”. Why should analogue radio be forced to comply when digital radio is allowed to create formats that, essentially, will boost their commercial potential? Continuing with an accepted opinion that digital radio could hit upon more commercially viable formats using exclusively foreign content (often with a huge amount of market research and big-money marketing behind it) shows that if we want our cultural industries to continue to grow – and grow in ways that are meaningful to all Australians (not just those going to Laneway gigs) – we need to enforce the commercial media’s representation of those industries. If you listen to any commercial radio, or look at the charts, it can be difficult to see how Aussie acts are being boosted, even with the quota. You might hear one or two Pete Murrays or Havana Browns in a standard shift. But in a forum hosted by the Australian Songwriters Official National Group (ASONG) in May, Matthew Donlevy, the Managing Director of Peer Music Publishing, gave a poignant example outlining how a new act can make money from APRA payments – that is, money acts receive every time their song is played in public. “If you can get your contemporary new song played on night-time radio, that can be worth quite a bit of money. If you can get down to the bottom end of the top 100 charts, you’re talking about $3,000 [to] $5,000 for night-time play on Nova alone – national airplay. That’s a significant amount of money for a new artist.” Certainly something to think about during this week of local music celebration. breakdown@drummedia.com.au

A little while ago I mentioned the MySchoolAct comp, an online music and talent competition run exclusively for Australian high school students. The winner will score a $50,000 recording deal from Sony Music and a publishing deal with Sony/ATV Publishing to the value of $15,000. There’s also a slot on the 2012 Big Day Out up for grabs! If you’re still umming and ahhing about entering (entries close Monday 5 December) or have already done so and want some more info, head to youtube.com/user/MySchoolAct, where they have just uploaded videos with MySchoolAct director of music John O’Donnell and Parker & Mr French music management firm co-owner Todd Wagstaff. These guys have some great insight and tips on how to make inroads in a tough industry. The Line is a great initiative providing a platform for discussion about where ‘the line’ sits and what constitutes crossing it. Everything from relationships to sexuality to behaviour with drugs and alcohol is discussed in an open and supportive forum. Better still, they’re giving back with music. One example is the compilation they’ve put together (check our giveaways section at the front of the rag if you want to score one for free!) that features the likes of L-Fresh, Hilltop Hoods and Maya Jupiter laying down tracks about drawing the line and the importance of respect. Kween G, who also features on the CD, will join L-Fresh this Saturday at Liverpool PCYC for performances and a hip hop workshop where they will mentor young people on writing their own tracks on the theme of respect, with the chance to perform live on stage later in the evening. Things kick off at 12:30pm and there’s also a BBQ, breakdancing crews and a whole heap of prizes up for grabs.

OG FLAVAS It’s ironic that Odd Future’s Frank Ocean, R&B’s most progressive newcomer, should have called his ace mixtape (or EP) nostalgia, ULTRA. Indeed, beyond all that pumpin’ electro urban on the radio is a latent nostalgia for ‘90 epic rap and hip hop soul. J Cole tapped into this on Cole World: The Sideline Story – and you’ll hear more on Common’s upcoming The Dreamer, The Believer. Ocean’s ‘nostalgic’ urban is different. The New Orleans native may evoke ‘90s R&B, but on nostalgia, ULTRA he subversively recontextualises music by Coldplay, Radiohead and The Eagles. His single, Swim Good, is illwave – that very ‘now’ emo-fied soul. (Ocean’s pal Pharrell Williams has kookily dubbed him “the black James Taylor”) But this week OG Flavas isn’t necessarily feeling nostalgic for ‘90s hip hop, but the good ol’ urban soundtrack. Back in the ‘90s (and pre-YouTube) the urban OST served as a vehicle to break – and promote – major label acts. Coolio’s biggest hit was the theme to Dangerous Minds – Gangsta’s Paradise. Many of these compilations included filler (tracks not used in the films) and absolute junk, but there was also treasure. Jodeci’s Cedric “K-Ci” Hailey soulfully – and grandly – covered Bobby Womack’s If You Think You’re Lonely Now for 1994’s Jason’s Lyric spin-off – and expectations were that he’d pursue a triumphant solo career. Kenneth “Babyface” Edmonds produced all the music for Waiting To Exhale, showcasing such iconic female artists as Whitney Houston, Toni Braxton and Aretha Franklin. Yet Mary J Blige outshone everyone with her quiet storm classic, Not Gon’ Cry. The Love Jones OST referenced the surging neo-soul movement of the late ‘90s with songs from Lauryn Hill (and the Fugees camp), Maxwell and Groove Theory. The commercial soundtrack has enjoyed a revival of late with The Twilight Saga movies, the surprisingly cuttingedge music assembled by Alexandra Patsavas. She typically favours indie fare, but some urban has snuck in. Chicago MC Lupe Fiasco contributed the self-produced Solar Midnite – less rap than a deviation into his beloved alt-rock – to New Moon but, though heard in the movie, it was only ever available as an iTunes ‘bonus’. On Eclipse, Cee Lo Green performed the sublime country soul What Part Of Forever. For Breaking Dawn – Part 1, the R&B Bruno Mars has laid down the beat ballad, It Will Rain, also the OST’s lead single (and Top 20 in Australia). It’s proven controversial among Twilighters – and understandably so. Unlike Green, Mars has zero street cred. Ocean woulda been so much cooler. Still, It Will Rain

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ON SIERRA The fantastically impressive On Sierra are heading up from Melbourne with buddies Alkan Zeybek & The Lessermen for a few shows this weekend to launch their new EP, including an all ages gig on Friday at Blackwire where they’ll be joined by locals Making. We pulled Luke aside to answer a few questions. How would you describe On Sierra to the uninitiated? A sonic lasagna – as described by a dear friend. What can you tell us about the self-titled EP you’re touring at the moment? It’s a very accurate depiction of our aural exploration of genres like post-punk, breakbeat and psychedelic post rock. It was fun trying to come up with new ways to present these styles and to grow from our hardcore background. What was the best gig you attended as an under 18? It was at the Rainbow Hotel in Fitzroy, where I discovered the sexiness of soul and blues/funk with vetran big band The Grand Wazoo. The floor is yours to sell us Friday’s show… A love child between My Disco and PVT, adopted and raised by the likes of Gatherer and Holy Fuck. If that sounds like sex to you, you should probably head down this Friday and get it in your ear holes. allages@drummedia.com.au

URBAN AND R&B NEWS BY CYCLONE

THEOPHILUS LONDON is preferable to Mars’ Idol-esque pop-soul Just The Way You Are, or his silly Ryan Tedder-style Grenade, thanks to its subliminal trip hop influence. And the lyrics are suitably strange: “If you ever leave me, baby/ Leave some morphine at my door/ ‘Cause it would take a whole lot of medication/ To realise what we used to have/ We don’t have it any more.” However, like Christina Perri’s generic A Thousand Years, Mars’ offering doesn’t really belong alongside The Joy Formidable, Angus & Julia Stone and Kings Of Leon’s mates The Features. If anything, Mars is a throwback to that often bland ‘90s balladeer Edmonds, only with a husky voice. (It’s hard to imagine that he has a credit for Green’s Fuck You!) The Hawaiian is a busy boy. Mars is now plugging Count On Me, the fifth single from last year’s best-selling Doo-Wops & Hooligans. Plus he’s involved in Wiz Khalifa’s new Young, Wild & Free, featuring Snoop Dogg. Breaking Dawn... does have another urban track – from New York MC-cum-singer Theophilus London, who’s received a huge push this year from Warner, the label, coincidentally, behind the Twilight OSTs. Alas, London’s debut, Timez Are Weird These Days, lacking in originality, charm and genuine eccentricity, hasn’t found its audience. On Breaking Dawn... his Neighbors is predictably more self-conscious hipster hip hop – it might be a Lupe outtake. London’s best song remains the ‘80s soul Why Even Try, with Sara Quin (Tegan And Sara). Something similar would have been perfect here. ogflavas@drummedia.com.au


ROOTS DOWN

BLUES AND ROOTs WITH DAN CONDON

SEASICK STEVE Fallen Off A Rock His first Australian shows were as a part of Bluesfest a few years back and since then Seasick Steve’s career has blown up even further; he’s practically a hobo superstar. I still get chills remembering that first set in the Jambalaya tent early on the first day of the festival in 2008 and even though he’s been here plenty since then, I can’t wait to see him again. This tune is great; no gimmicks, just great songwriting.

I was not expecting to be running a second instalment of my self-lauded Bluesfest mixtape series a mere two issues after the first one, but the festival decided to rush out a second announcement and I’m happy to comply. NICK LOWE Cruel To Be Kind He was last here in support of Ry Cooder (where is Ry on the bill?!) and a couple of leaks meant that very few will be surprised to see this British power pop/roots-rock master on this year’s Bluesfest line up. Much as I love it, I understand criticism of this song. You either love or hate it, but how can you resist the infectiousness of that chorus? THE SPECIALS Concrete Jungle So many great songs to choose from when it comes to this legendary 2-tone ska revival outfit. They were such an important voice in the late 1970s and early 1980s, telling tales of the disaffected British population and attempting to integrate white and black audiences. This song is slightly less known, but I think it captures the fear of that time better than any of their other songs. LUCINDA WILLIAMS Metal Firecracker She remains one of the greatest country artists on the planet today – as she has been for decades – and it’s exciting to see Williams back for a second Bluesfest. Her 1998 Car Wheels On A Gravel Road album is utterly perfect and Metal Firecracker has one of the most underrated choruses you’ll ever hear. CROSBY, STILLS & NASH Wooden Ships One of the most revered folk outfits of the late-‘60s/early-

LUCINDA WILLIAMS ‘70s (and beyond), there will be plenty reliving their glory days when these dudes hit the stage next year. Wooden Ships from their 1969 eponymous debut is my favourite of their songs; it’s dated a little better than a few other tunes from that record and its marriage of folk and psych is pretty special. JOHN HIATT Have A Little Faith His performance in 2008 was damn special and this song – a true classic – was just gorgeous live. His latest record, Dirty Jeans And Mudslide Hymns, is pretty good too so it’s sure to be another very special set next year. DONOVAN Sunshine Superman Probably better known by a lot of people as “that song from that ad” (curse you modern consumerist culture), this track from Donovan’s awesome 1966 album of the same name is one of his most popular; its exotic and somewhat bizarre arrangement must have sounded absolutely thrilling 45 years ago, because it’s still pretty extraordinary now. A welcome Bluesfest debutante.

KEB MO Perpetual Blues Machine While his brand of blues definitely leans towards the middle of the road, Keb Mo is a treasure. He’s an incredible guitarist and his rich voice sets him amongst the best modern blues vocalists. Hell, if he gets a compilation release in conjunction with Martin Scorcese’s Blues documentary series and a bunch of Grammy awards, he’s gotta be doing something right. HARRY MANX Tijuana Another “usual suspect” makes a welcome reappearance. His eastern inspired blues is a great example of the different directions this style of music can take when approached in unique ways. This cover of JJ Cale’s Tijuana isn’t as good as the original, but it stands up pretty solidly all the same. Useless Trivia: Harry Manx was the first act I ever saw at a Bluesfest. Angelique Kidjo, Rosie Ledet, Seth Lakemen, Fabulous Thunderbirds and Alabama 3 round out the second announcement for Bluesfest, which hits the Tyagarah Tea Tree Farm Thursday 5 to Monday 9 April. roots@drummedia.com.au

BLOW Jazzgroove introduces another international heavyweight to Sydney audiences Tuesday at 505 with the Norwegian fivepiece Motif, featuring Atle Nymo on sax and clarinets, Eivind Lønning on trumpet, Håvard Wiik on piano, Ole Morten Vågan on bass and Håkon Mjåset Johansen on drums. Opening the night are local sextet The Mugz. Camelot Lounge Wednesday night hosts the launch of the second album, Tell Me A Story, from Melbourne chanteuse and glockenspiel player Maddy Hay, with special guest, pianist Luke Howard, back from New York City having released the album, Open Road, recorded in Oslo with Belgian bassist Janos Bruneel. Direct from London, jazz singer Anita Wardell and her drummer Tristan Maillot will be joined by our own Jason Bruer on tenor sax, Brett Hirst on double bass and Tim Bruer on piano at 505 to showcase her latest album, Kinda Blue, and more Thursday. Thursday night, The Gaelic Upstairs hosts the Jazzgroove Jam & 2012 Summer Festival Launch Party, with Hugh Barrett on the piano, Ben Waples on double bass and Tim Firth on drums and all manner of special guests happily welcoming jammers as the festival program is announced. Double bassist and composer Steve Elphick is moving to Melbourne, so Sound Lounge is hosting two farewell nights where he’ll join a couple of the Sydney combos with which he’s best known. Saturday night’s Elphick’s Last Stand 1 sees him with The World According To James, while Friday 9 December, he’ll be working out with Kim Sanders & Friends.

JAZZ/WORLD WITH MICHAEL SMITH

Evan Lohning – Hernandez Café Glebe Gadjo Guitars – Ravesi’s Bondi Beach

FRIDAY TIM ORAM

To commemorate 50 years of friendship between Australia and Korea, drummer Simon Barker and percussionist and vocalist Dong Won Kim, who work together in Daorum, will be presenting a free workshop titled CHAOSMOS: The Universe Of Korean Rhythm, in the Sydney Conservatorium’s Verbrugghen Hall, Thursday through Saturday.

TUESDAY

James Valentine Quartet + Jane Irving – Golden Sheaf

WEDNESDAY

The Hampshire Hotel has a new and innovative entertainment program headlined by a massive day and night marathon on Saturday 3 December under the billing of Shaking All Over (No 1). Beginning at midday there will be no less than eighteen stallholders including the Sterling Barber Shop and lots of great clothing vendors as well as dance classes from Limpin’ Jimmy & the Swinging’ Kitten. Music wise the big day/nighter will feature the only Sydney appearance of Melbourne’s Rocking Rechords along with the Drey Rollan Band and the Twilight Rhythm Boys as well as DJ Brian and Rod Almighty. Add to this a bevy of burlesque performers, a ‘50s style cocktail bar and prizes for the best dressed and you have a mini festival in its own right. Mojo Music have been on the move in recent years with two previous stores in York Street in the Sydney CBD. Great to see they have now settled in brand new premises at 73 York Street, affording them a much larger space. Look out for a major announcement in the coming months that will prove a real innovation for the Sydney record shop scene as well as the return of some of those great in store live music appearances for which Mojo is now legendary.

SATURDAY

Paul Sun Trio – Organic Food Markets Leichhardt (morning) Nic Jefferies & Friends – 505 Katie Noonan (solo and by request) + The Rescue Ships – Camelot Lounge Michael Griffin Quintet – Summer Hill Hotel Yuki Kumagai Quintet – Palm Court Hotel Corrimal

SUNDAY

Reuben Bradley – 505 Will Henderson – Kudu Lounge

The Swinging Blades – Marrickville Bowling Club James Ryan Trio – 505 The Strides – Brass Monkey

THURSDAY

The Subterraneans + Showa 44 – The Basement Sussurro – Colbourne Ave Glebe The Strides – Shore Club Manly The Hottentots + Voices From The Vacant Lot – Camelot Lounge

MONDAY

Sydney Jazz Orchestra, with Emma Pask & Jeff Camilleri – The Basement blow@drummedia.com.au

THE SWAMP SHACK

Christmas is next month so what better way to stock up on those essential pressies than a visit to the Sydney Rock‘n’Roll & Alternative Market at the Jets Sports Club at Tempe this coming Sunday from 11am to 5.30pm. As usual there’s a fabulous array of stalls and a great lineup of bands that include Hell City Glamours, Ezra Lee & the Steel City Band, along with DJs Wolfman Dan, the Rockabilly Rhino and FBi’s ubiquitous Jack Shit. Entry is by gold coin donation.

Joe Chindamo Trio – Sound Lounge Liam Burrows & John Morrison’s Swing City Big Band + Jacqui Cooper Quartet – Lizotte’s Dee Why Ninth Chapter – 505 The Strides – Great Northern, Newcastle

ROCKABILLY/PSyCOBILLY/ALT.COUNTRY WITH PEDRO MANOY

THURSDAY Hot on the heels of the Presidential visit, Finn play the National Press Club.

FRIDAY

JOHN HAMMOND

Don’t forget the ultra rare appearance of Melbourne’s legendary songwriter and performer Peter Lillie coming up at the Deus Café in Camperdown on Friday 2 December along with special guests Peter Doyle, Dog Trumpet and Mic Conway. It’s a special one-off Sydney showcase for Peter’s great new songs as well as chance to catch some of Reg Mombassa’s new tunes and most recent artwork. Peter Doyle will read some of his latest writing, accompanied by the psycho-realist paintings of Rhett Brewer.

TUESDAY US bluesman John Hammond plays the first of two nights at The Basement Circular Quay along with Hip Sister whilst Adam Pringle and friends jam the blues at the Sandringham Hotel.

WEDNESDAY John Hammond is at the Basement and the Musos Club jam at the Bald Faced Stag.

The Blues Convicts play the Empire Hotel whilst John Hammond moves to Waves at the Towradgi Beach Hotel. Ray Beadle journeys to the Clarendon Guesthouse and Steve Edmonds rocks the Collaroy Services Beach Club.

SATURDAY The Sydney Blues Society Jam is staging a Memphis fundraiser featuring previous winners Alison Penney and band, Isaiah B Brunt, Jan Preston, Midnight Ramblers and the P J O’Brien Band at the Empire Hotel. Money raised will go towards getting 2012 winners Buddy Knox, Don Hopkins and Rob Grosser off to represent Australia in the International Blues Challenge. Rip It Up tear up the Ashfield RSL with DJ Grizzly Adams.

SUNDAY Put on your dancing shoes and head for the Intermediate Rockabilly Dance Workshop at St Stephen’s Church Hall in Newtown from 3pm. EC & The Voodoo Train featuring Ewan Sommerville and Chris Mawer have a great afternoon in store from 3pm at the Five Islands Brewing Company, at the WIN Entertainment Centre in Wollongong. swampshack@drummedia.com.au

themusic.com.au

DISCOVERING KRYSTLE Recital-like tribute shows can often deliver unexpected and totally memorial gems. For example, go back to 2005 when Came So Far For Beauty, the live Leonard Cohen tribute, introduced Sydney Festival fans to the wonder of Antony Hegarty of Antony & The Johnsons, as well as rehashed and reignited a love for Rufus and Martha Wainwright. Indeed, so great was the impact of this tribute that it also helped relaunch Cohen himself, teasing him back onstage and in front of a loving and (growing) audience. Much more recently a Nick Drake tribute did the rounds in Sydney and Melbourne, called Way To Blue, it was based on a formula set up by the BBC in 2010 and featured much of the same cast as were assembled in the UK production, but this wasn’t just a cheap excuse to escape an ever darkening British autumn. Like the 2005 audiences who gained Antony, Way To Blue audiences were introduced to fabulous newbie Krystle Warren. With an American soul pedigree but dressed in understated civvies, Warren took the stage for Drake’s relatively upbeat Time Has Told Me, delivering it in a low, slow tone that would have easily been accused of being a direct Drake impersonation had she been male. However this gender bending was only the beginning, as Warren merely used Drake as a platform to launch her own abilities – not upstaging him, but gently swaying and playing around. Like Antony’s first performance of Cohen, when Warren was finished there was a silence as the audience registered a collective (if unspoken) “good lord that was good!” As the night went on and Warren returned, the unspoken became more vocal and by the encore she was a clear favourite. The good news is that Warren’s work in Australia is just beginning, with a solo tour announced for March 2012.

17’S COMPANY Recently returned to Australia after almost three years working with London’s West End production of Priscilla (he wrote some of the orchestral arrangements), saxophonist/band leader/composer/arranger Tim Oram has put together the 17-piece Sydney Jazz Orchestra and it’s due for its premiere performance at The Basement in Circular Quay on Monday. And the repertoire isn’t the standard big band format – this band will be performing Oram’s unique and innovative arrangements of popular numbers by artists like Sting, Diana Krall and Michael Buble amongst others. We got a brief background on the group from Oram: What’s the best thing about playing with a big band? The big ensemble sound. And the worst? When the band is too loud! The 17 piece Sydney Jazz Orchestra are set to make their debut at The Basement. What can audiences expect from the new outfit? A great musical experience. How does the Sydney music scene compare to that in the UK, or Europe, in your experience? Bigger scene and more opportunities to play in the UK, but to write for the ‘A’ level guys, over there you have to be ‘shit hot’ because there’s a lot of competition. Audiences are more willing to go out in all weather to hear good live music. What’s your favourite tune in the band’s current repertoire? My arrangement of Jupiter from Gustav Holst’s Planet Suite.

EUROPEAN STORIES Maddy Hay has recently released her second album Tell Me A Story and launches it Wednesday at Camelot. Here Hay tells us a few stories. How did writing on glockenspiel affect your song writing approach? Being the only instrument I had with me on my travels, it made me think outside the box and forced me to come up with other ways to craft my songs. In the end, my voice started to almost mimic the sounds of the glockenspiel - melodies and phrases - we bounced musical ideas off each other! How did your time spent in Paris and Amsterdam influence the new album? I suppose having just finished a string of shows in Holland where I was surrounded by a buzz of people and then hopping on a train to Paris all by myself instantly sparked up song writing ideas! Living in Paris, I fell into the fast lane by night and spent days getting lost in the streets and sitting in the gardens writing. Emotionally, I went through a whole bunch of things, and I had many, many hours to study them in my endlessly wandering mind. Producer Jonathan Zion set you the daunting task of writing 30 songs in 30 days, what came from that experience? When I returned home from Europe, I was in such a bereft state. I could not bear to finish my growing collection of half written songs. Jonathan saw all of this unfolding and told me to finish each one that I had embarked on. The 30 songs in 30 days truly gutted me, but enabled the stories to flow out, whether they made the album or not, this process was very healing. THE DRUM MEDIA • 53


MUSIC NSW

WORDS FROM THE PEAK BODY OF CONTEMPORARY MUSIC IN NSW

LET’S DISCUSS RADIO CONTENT QUOTAS

Recently in the press, there has been a lot of discussion around radio content quotas and Commercial Radio Australia attempting to abolish the guidelines that dictate the level of Australian music that needs to be programmed. For many reasons, this is something that Australians need to challenge, as the ramifications of deregulating radio will be long lasting and wide reaching. Here, we take a look at some of the key issues.

FREE TRADE AGREEMENT

The Free Trade agreement means that Australian content quotas can never be increased beyond 25 per cent of market share. The reality is, that if content quotas go down, they will never be able to go back up. Do we really want to support an industry that is prepared to marginalise its own artists and musicians to give preference to music from outside our own country?

AIRNZ

I recently had the pleasure of meeting with the AirNZ team, who had some sage words of advice. Firstly, in the late ‘80s, the NZ government completely deregulated the radio industry and NZ-made music plummeted to only two per cent of radio content. To get out of the quagmire, the government was forced to invest tens of millions of dollars into supporting the production of Kiwi music and created jobs for people to pitch that music back to the commercial radio stations, giving incentives to the stations to play it. Now, the local industry is thriving, but it took going through a creative dark-age for the commercial radio stations to realise, actually, this music is pretty good aye bro and we should probably just play it… Now, they do and locally produced music is willingly played on commercial radio up to almost 40 per cent on some stations, no less than 20 per cent on the rest. So it took deregulation for the radio stations to eventually willingly play content at the same rate they were originally regulated at and cost the government millions of dollars in the process. Does anyone else see a problem here?

SUCKS TO BE YOU

Joan Warner, the CEO of Commercial Radio Australia was recently quoted in the Sydney Morning Herald as saying,

BUSINESS MUSIC

INVESTING IN CLUB MUSIC WITH PAZ

PREP FOR SUMMER

WOULD GOTYE “CUT IT” ACCORDING TO CRA? ‘We don’t produce a quarter of the world’s music, so why would you want to hear more than one in four songs that’s Australian?’ There are many reasons why such a statement is dismissive and ignorant, but enforcing and encouraging Tall Poppy Syndrome is not a valuable reason for shunning Australian-made music off the airwaves. Looking at examples from around the world, France provides both an interesting experiment and positive outcome. In 1994, the French government moved to increase content of French music on the airwaves to 40 percent (from around 15 percent) of all music played, feeling that its contribution to the music landscape was under threat from globalisation and an influx of English-language music from the UK and US. More than a decade later, radio stations that had fiercely opposed the move, fearing it would destroy their listenership and advertising revenue, have all significantly increased their market share and the continued support of the industry has led to a boom in the production of quality French music, allowing a huge amount of bands export their music internationally to English language markets – think Phoenix, M83, Camille, Nouvelle Vague, Air, etc. The link is obvious – if Australian radio stations play more Australian content, not less, it will increase the amount of Australians making radio-worthy music which is beneficial for the music industry on all fronts. As Nick O’Byrne from AIR wrote this week, “There used to be an excuse that Australian music just didn’t have the production values of music from the USA or UK so radio couldn’t play it… You’re telling us that commercial pop from Gotye, Empire Of The Sun, Powderfinger, Temper Trap, The Presets, Kimbra and Miami Horror doesn’t cut it?” Here, here! By Kirsty Brown

Get your swag of Moombahton releases like Generations Bass’ Moombahluv II, David Heartbreaks M7 and Moombahton Massive 6. Next delete 98% of the compilation and avoid mixing with Reggaeton. Moombahton will soon release the “retro” or “throwback” packages... beware. Next… go to the Village Dance Radio site and download as many Pete Les Stache edits and podcasts, drop a comment “loving this in OZ, its 43 degrees here, enjoy your white xmas... LOLs”. Scan Islandmix.com for Groovy Soca mixes and anything by producer Dwaingerous. Avoid most items that relate to Chutney Soca. Next... get Sampology to release his Gringa track which ft. Boogat. Next… Juno up and get Razzlerman’s new Enter The Jungle E.P, Funky with an African slant. Then... hit your record store and buy some jazz/funk just to keep it real. Look for George Duke - A Brazilian Love Affair, Donald Byrd - Places And Spaces and Hiroshi Fukamura - Hunt Up Wind.

RIVALRIES

Tried to initiate a cc’d slanging match on the email invitation to the Croft 10 year anniversary. The Croft has a bunch of “backwater” South Australian DJ’s keeping it alive atm. Melbourne and Adelaide competed in legendary Jungle sound system clashes in the early 90s. The Brisbane’ and Sydney’s club rivalry concerns who has the most outlaw motorbike crews. Perth, Tassie and Darwin... whatever. Melbourne sent Sydney peeps like Frenzie, Shivers and Jimmy Sing. Melbourne has received the cream of the S.A crop with Kano, Kim Dezen, Agent 86, Jumbo and Jules Inksel. Inkswel sent through a promo package for a new release that is tight, keep an ear out for that. As for New Zealand...

MELBOURNE MUSIC WEEK

The honorable Lord Mayor has managed to surmise “Melbourne” music in 9 days. That’s God status + 2 days. A few seminars and events I would have liked to see added to the agenda though: 1. How to burlesque King St, 2. A reality TV show on how to make Docklands a viable music hot spot and 3. How to invent a music campaign and charge the State Government to do it. The Record and Release events show some promise, they should get Occupy Melbourne (who need a new home)

GROOVE TERMINATOR to record a peace time chant et al John Lennon - Give Peace A Chance. BTW it’s Melbourne music week every week at Business Music.

#APRATWEETS

Trending #APRATWEETS started with GT aka Groove Terminator. It didn’t trend strongly as most dj/producers are too lazy to get this party started. However the spending of APRA payments seems to be directed towards tech business Factory Sound (via Matt Sofo) and a haircut (via Sampology). GT might invest in an East Coast time-share. His APRA business is suited and booted. Some APRA whispers suggest that in the future song performances less than 1:30 will not be paid, and that venues will start recording data analysis of performances via a Shazam styled technology. Not sure yet if win/lose.

HIP HOPA-LOL-AMUS

Had Heavy D not died of a heart attack, he would have been the perfect candidate to raise awareness. On the local tip the 360 memes are great. The U.D.L Boyz are the “FEWCHA” and their new clip for 10 Ay Emm is the new 10 a.m club anthem. Kreayshawn, sister V Nasty and the Whitegirl Mob are completely confusing. Like Die Antwood, they appear to be racist, bank robbing scum bag lesbians who have amazing stories about nothing. With over 30 hours of video viewing it’s still undecided on the love/hate. Those are the best acts, like dancing drunk on piers.

SYDNEY WE’RE COMING! VENUE MANAGER – SYDNEY Premier live music venue coming to Sydney Competitive Package Opportunity to build the future The Hi-Fi Group, one of Australia’s most popular and recognised music brands, is coming to Sydney. We are looking for a suitably experienced Venue Manager to join our dynamic team and kick start our operation in Australia’s premier city. A very autonomous role, reporting to the General Manager, you would oversee and manage all events at the venue. The position requires passion, initiative, organisation and dedication.

You must have:

Key Responsibilities:

• Excellent front of house skills • Experience in managing large events • Great leadership and staff management skills • The ability to work autonomously and under pressure • Strong computer literacy and presentation • Excellent written and oral communication skills • Outstanding time management and attention to detail • Passion for excellence in customer service

• Account Management client liaison and order entry • Stock ordering and control • Cash supervision • Staff rostering and training • Compliance Management • Office Administration

While not essential, experience in the live music industry will be looked upon favourably.

Applications via email to brendan@thehifi.com.au

54 • THE DRUM MEDIA

themusic.com.au


Keystone Festival Bar Hyde Park Barracks Museum. January 8-28. 14 nights | The hottest live bands and DJs January 8

MOUNTAIN MOCHA KILIMANJARO & ELECTRIC EMPIRE January 9

DEERHOOF & DJ YAMANTAKA EYE (THE BOREDOMS) January 11

DAN DEACON ENSEMBLE & JOHN MAUS January 12

SONS AND DAUGHTERS, SONGS & THE LAURELS January 13

FBi NIGHT: SHABAZZ PALACES, TAYLOR MCFERRIN & SHANGAAN ELECTRO January 14

PICNIC: ANDREW WEATHERALL & NEVILLE WATSON January 18

SO FRENCHY SO CHIC: ASA & FEFE January 19

SO FRENCHY SO CHIC: NOUVELLE VAGUE & MORIARTY January 20

FBi NIGHT: TUNE-YARDS & JONTI January 21

THE WHITEST BOY ALIVE & NEW NAVY January 25

MAD RACKET: PEVEN EVERETT January 26

THE PEDRITO MARTINEZ GROUP & WATUSSI January 27

THE STEPKIDS & ELECTRIC WIRE HUSTLE U January 28

FUTURE CLASSIC: DJ KOZE & PRINS THOMAS sydneyfestival.org.au/keystone

THE DRUM MEDIA • 55


frontrow@drummedia.com.au

THIS WEEK IN CHRIS RYAN AND CATE BLANCHETT IN REHEARSAL FOR STC’S GROSS UND KLEIN

ARTS

PICASSO’S PRIVATE COLLECTION EDMUND CAPON IS SIGNING OFF FROM HIS 33-YEAR APPOINTMENT AS DIRECTOR OF THE ART GALLERY OF NSW WITH A BANG – THE EXTRAORDINARY EXHIBITION, PICASSO: MASTERPIECES FROM THE MUSÉE NATIONAL PICASSO, PARIS. WORDS BY JAKE MILLAR.

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WEDNESDAY 23 Cath Robinson: Thought Noise/ wave form preludes (if played simultaneously) – an exhibition of sound sculptures that explores the wave forms of noises in audio software. In an attempt to create music, when played through a music box the melodies are like an extension of one small moment of thought, and change depending on how many people are playing them. Cath Robinson is an artist who works with sound, sculpture and interactive installation. Opening night, 6pm. (Also opening at the same venue tonight: Phoebe McDonald’s Rise And fall, Again; Peter Thorn’s Interlacing; Kenzie Larsen, William Mansfield and Eddie Sharp’s Grand Chasm.) Firstdraft Gallery, Surry Hills until 11 December. On Borrowed Time – Australian Filmmaker Paul Cox shares his views about his art and life with David Bradbury, in his kitchen in inner suburban Melbourne. Narrated by David Wenham. Chauvel Cinema, 6pm.

THURSDAY 24 Julian Meagher: The Blue Ribbon Series – an exhibition by Sydneybased artist/painter Julian Meagher, who was behind the series, Strong Men Also Cry, again exploring ideas of Australian masculinity. He sources subject matter from both the manufactured and natural worlds. A painter who uses oils like they were watercolours has created a niche of a style that has been described as ‘messy neat realism’. Opening night, 6pm. Chalk Horse, Surry Hills until 23 December.

FRIDAY 25 Connections: Brazil and Australia – curated by Georgia Wallace, an exhibition that presents the connections between Brazil and Australia. In the geological past, we were part of the same supercontinent, Gondwana, which has led to our countries sharing many plants and, with colonisation, distinctive architecture. Opening night, 7:30pm. Customs House until 20 January. Kabul Kids – an exhibition from a group of children between the ages of nine and 18 years from Hope House, a Kabul orphanage run by Australian aid organisation Mahboba’s Promise. After workshops the children were handed cameras to document their life and explore their creativity both within and outside of the orphanage. The results shown in this exhibition depict intimate scenes of friendship and scenes from the streets of central Kabul. Tonight, a panel discussion comprising a selection of public spokespersons will cover topics such as the universal experience of children. Opening night, 6:30pm. Panel Discussion, ICE until 1 December. Nothing Like Performance – a group exhibition featuring Matthew Bradley, Lauren Brincat, Brown Council, Paul Donald, Will French and Yiorgos Zafiriou. Including moments of “liveness”, it presents the artist at work through performance - an example of 56 • THE DRUM MEDIA 22 NOVEMBER 2011

what will be happening is Paul Donald who will attempt to build a bridge across the gallery without formal plans. Opening night. Artspace until 22 December.

SATURDAY 26 Julius Caesar – directed by Peter Evans, Bell Shakespeare’s associate artistic director. “To see the future one must only look to the past, like many who came before him, and after him.” This sharp political drama puts friendship to the test and reveals a stark contrast between our intentions and our actions. With Alex Menglet as Caesar and Kate Mulvany as Cassius, we go behind the scenes as yet another leader is forced from office. Closing night. Playhouse, Sydney Opera House.

ONGOING As You Like It – directed by Eamon Flack, written by William Shakespeare; one of his great comedies, this is the tale of a mixed bag of ordinary human beings on a tremendous voyage of discovery. At its heart is a heroically foolhardy attempt to begin society all over again. There are disarmingly modern thoughts at the centre of this play: the idea of true personal freedom, of people running away from the city to create a new society, a new way of living in a pastoral paradise. These displaced people are all running from something; corruption, family breakdown, injustice; and in the process meet a new kind of people who live, in a way, completely removed from the structures of life in the city. Upstairs, Belvoir St Theatre until 24 December. Gross und Klein – directed by Benedict Andrews, written by Botho Strauss, English translation by Martin Crimp. A journey down a rabbit hole and into a Wonderland-like world, where Lotte sits alone, all dressed up with nowhere to go. She just sits, listening to the men arguing outside the window, cheerful in the hope that someone, somewhere will need her help or give her affection. First staged in 1978, this delicately surreal play stars Cate Blanchett and will tour Europe in 2012 after this season. Sydney Theatre until 23 December. No Man’s Land – written by Harold Pinter, directed by Michael Gow. Two unlikely drinking buddies, Mr Hirst, a well-heeled but fading London literatus who’s in the last lap of a race he has long forgotten how to run, and Mr Spooner, a scruffy booze-hound, poet bent on ingratiating himself with his superiors. Savour Pinter’s precise, linguistic games and famous silences. An STC production. Drama Theatre, Sydney Opera House until 11 December. Outpost: Art From The Streets – Cockatoo Island is transformed into a huge canvas for street artists, with the likes of Anthony Lister, Banksy, Beastman, Ben Frost, Ears, HAHA, Max Berry, Meggs, Numskull, Paste Modernism and the Secret Wars crew representing. Cockatoo Island until 11 December.

lockbuster art shows can be pretty disappointing affairs. By the time many of these major international exhibitions limp onto Australian shores they often tend to be in a fairly sorry state, the bigname pieces long since left behind in Europe or the US. But the Art Gallery of NSW’s Picasso show is different. This is not some cobbled-together collection of second-rate works. This is serious. Picasso: Masterpieces From The Musée National Picasso, Paris includes more than 150 pieces on loan from the Musée National Picasso, spanning more than seven decades of his career and taking in ten exhibition rooms of the Art Gallery of NSW. They’ve carefully rearranged the gallery to fit it all in and, if ever you were looking for a measure of an artist’s legacy, causing a major national gallery to restructure its entire collection to house your work would surely be up there. You can’t help but feel Picasso would be proud. But perhaps not quite as proud as Edmund Capon, the gallery’s long-time director. The man could scarcely contain his excitement as he introduced the event to an equally enthusiastic audience, and you could hardly blame him. After more than 30 years at the head of the gallery, Capon will be stepping down at the end of the year, this show his parting gift to the people of Sydney.

PABLO PICASSO – PORTRAIT DE DOA MAAR, 1937, OIL ON CANVAS

And what a gift it is. Although the Musée National Picasso’s collection has been on the road since 2008, as the museum’s curator and director Anne Baldassari explained, this is an entirely different exhibition, with some new pieces and a completely fresh set-up. It is astonishing not simply for the sheer volume of work on show, but also for the variety, with painting, drawing and sculpture all included in the mix. “It is a comprehensive show,” Baldassari told the audience. “As you can see, they are all masterpieces.” And she’s not wrong. The exhibition straddles the full length of Picasso’s long, prolific career, spanning every artistic period of his creative output, covering works as early as 1895 – when Picasso was just 12 years old – through to his cubist, surrealist and post-war periods, as well as his final years. “This is the great Picasso show to which we have often aspired but not yet achieved in Australia,” Capon declared. “Make the most of it because we will never have such a show again.” Picasso often said he was the greatest collector of his own work and that, given the choice, he wouldn’t have parted with any of them. But of course he sold or gave away many thousands of works during his lifetime. Though, as Capon explained, this is a collection of pieces he held onto; the ones

that meant the most to him. To accommodate the crowds expected at the show – this exhibition has, after all, attracted over 4.5 million visitors since its worldwide tour started back in 2008 – there will be extended gallery hours and for the first time tickets can be bought through Ticketek. Even if you’re not really a Picasso fan

– even if you’re not really a fan of art, for that matter – this is the one show you must see. It is, to put it simply, extraordinary. WHAT: Picasso: Masterpieces From The Musée National Picasso, Paris WHERE & WHEN: Art Gallery of NSW until 25 March 2012

PACT TO THE RAFTERS PACT ARTISTIC DIRECTOR CAT JONES TALKS TO DAVE DRAYTON ABOUT THE PACT ENSEMBLE AND COLLABORATIVE CROSSDISCIPLINARY WORK.

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he PACT Ensemble is a collection of artists and creatives aged 18-30 who undergo a year-long professional development, honing their practice, developing new work and establishing important relationships through collaboration. Now in its ninth incarnation, each year Cat Jones and Julie Vulcan guide the Ensemble’s progress and assist them in the development of a showcase. “Our audition call out was calling out to artists working in multiple mediums,” Jones explains the selection process for this year’s Ensemble. “Julie and I both have a background in working with interdisciplinary work so working across forms in one process is part of both of our practice. PACT’s vision is to create interdisciplinary experiences and alternative experiences for audiences that are not necessarily a sit down and watch experience; sometimes there’s participation, sometimes it’s more of a experiential or immersive experience.” With that in mind the Ensemble this year has created Beguiled, a show that encompasses their numerous practices while addressing experience and the notion of perception.

“We’re currently working with a methodology where artists bring a found text that is really important to them and in conversations amongst the group we distil the concepts in that isolated piece of text and what their feelings about it are – the reason they chose it and what it means to them – down to a single concept. “Beguiled came entirely from connecting the dots between the texts. It started to come down to multiplicity of perception and hyper-reality and personal interconnectedness and from those three things we set the group performative tasks around these concepts and what came out quite a lot was this theme of magic – not necessarily in the traditional sense of actual magic or illusion – but more to do with hyper-reality and parallel universes and things like that.” It then became a matter of distilling that magic, Jones and Vulcan setting a series of performative tasks that refined the texts and the links they had established, and combining the numerous talents in the group. “The process was all based on performative tasks that we would then take and the next task we set them – either in groups or individually – would combine elements of each other’s work and

the refinement of what they were working with. We were constantly setting tasks that related to material that they had already brought; it was a progression of refinement of drawing out more material or having a new angle on a particular area. “These artists have been working as a group so their practices have influenced each other. There are one or two artists who, as well as performance work, work with sound, and I think they’ve influenced the others because the others have started to create works that involve Foley sound or something like that and all of them, in their making, have considered other mediums and I can only see that as having been

influenced by each other and the process.” The results, it seems, are suitably beguiling. “We’ve got ten artists and I can’t say that I have seen anything clichéd come forth in what they are making; they are really making very unique realisations of the concepts. I think there is a lot that you can draw out from what they are doing.” WHAT: Beguiled WHERE & WHEN: PACT Centre For Emerging Artists Wednesday 23 November to Saturday 10 December


frontrow@drummedia.com.au

TALES FROM SPRINGFIELD

C U LT U R A L

CRINGE

GUY DAVIS TALKS TO AL JEAN, SHOWRUNNER OF THE SIMPSONS, WHO’S BEEN INVOLVED WITH THE ICONIC SHOW SINCE THE VERY BEGINNING.

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pringfield has just been saved when I speak with Al Jean, long-time writer, producer and showrunner on The Simpsons. You see, the voice talent behind the longrunning animated TV comedy had been involved in a bitter pay dispute with its network but after a deal was struck the path was clear for the original voices of Homer, Marge, Bart, Lisa and the rest of Springfield’s inhabitants to continue ringing out loud and clear. “We have a budget that will take us through seasons 24 and 25,” says Jean, who joined The Simpsons as a writer when the show first started back in 1989. “And if someone had even said the words ‘seasons 24 and 25’ twenty years ago, you would have locked them up.” It didn’t take the Harvard-educated Jean long to make his mark on the show, and he was a co-showrunner for The Simpsons’ third and fourth seasons before taking a break to work on other projects before returning as sole showrunner at the beginning of season 13 in 2001, a position he’s held ever since. Showrunner does sound like a nifty title to have on one’s business card, so what does it actually entail? “I’ve heard people refer to it as the job of

running a show pony,” laughs Jean. “It’s actually a little bit like that! Basically you have the responsibility of overseeing all areas of the show, so if something goes wrong it’s your fault. You’re the head writer, you’re in charge of the budget, you’re looking at the music, the storyboards... I report to [series creators] Jim Brooks and Matt Groening but I have final say. There are so many decisions that need to be made that ultimately they fall to the showrunner.” This month sees the DVD release of The Simpsons’ 14th season, one that sees Homer embrace his inner rocker, Marge mistakenly receive breast implants and Bart become buds with Tony Hawk and Blink-182. And as is traditionally the case with Simpsons DVD sets, it’s chock-full of bonus features, such as cast and crew commentaries and behind the scenes documentaries. For Jean, being part of that process is a welcome walk down memory lane. “I find I’m very proud of them. And it’s great to see people we may not have worked with for a while. The other thing I enjoyed about season 14 is that we had such a great group of guest stars”, a lineup that sees Springfield regulars mixing it with the likes of Kelsey Grammer and Joe

Mantegna and A-listers like Mick Jagger and Keith Richards. By the way, when it comes to guest stars, Jean considers multimedia mystery man Banksy (“although Banksy could be a woman for all I know”) and reclusive novelist Thomas Pynchon among The Simpsons’ most interesting guest stars. And he’s constantly and happily surprised that the show continues to attract big names.

“Our success rate has been fairly high. We went out on a limb to get Lady Gaga and we did, which was great. The show encompasses so many area that we can really write almost anything that fits nicely into the Simpsons universe.” WHAT: The Simpsons: The Fourteenth Season DVD/Blu-ray (Twentieth Century Fox Home Entertainment)

A QUARTET OF QUADRI FOUR EXCITING AND ECLECTIC EXHIBITIONS OPEN AT FIRSTDRAFT GALLERY TOMORROW. JAKE MILLAR SPEAKS WITH ONE OF THE ARTISTS INVOLVED, WILLIAM MANSFIELD.

WILLIAM MANSFIELD, KENZIE LARSEN AND EDDIE SHARP – GRAND CHASM

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ou can scarcely set foot in Surry Hills these days without bumping into some kind of new art gallery or exhibition space. But amid this growing crowd of those coming late to the party, Firstdraft clearly stands out. The gallery has long been a supporter of local artistic talent – it saw its first visitors back in 1985 – and its most recent series fills the building’s four exhibition spaces with the latest batch of artistic output from Sydney and around Australia. It’s new, it’s impressive and it’s what Firstdraft does best. Artistic trio William Mansfield, Kenzie Larsen and Eddie Sharp are just one of the groups involved in the show. This multidisciplinary collective works across sculpture, installation, theatre and video art and their Firstdraft contribution comes off the back of a threemonth residency program with the gallery. “We were fortunate enough to be selected for the Firstdraft Emerging Artist Studio Residency Program,” Mansfield explains. “This enabled us the creative workspace and time to really nut out our collective conceptual framework. The residency programme culminates

with a three-week exhibition at Firstdraft.” The result is Grand Chasm, the group’s intriguing, even mysterious, work that will take over the fourth of Firstdraft’s exhibition rooms. “We have transformed the gallery space in an attempt to recreate a natural occurring wonder,” Mansfield explains, careful to keep it under wraps. “We don’t want to give too much away but Grand Chasm draws influence from tourist attractions like the Jenolan Caves and the Grand Canyon. “Our work explores themes of nostalgia and memory, illusion and representation. With Grand Chasm we are addressing site-specific associations with natural wonders and tourist attractions such as their innate majesty and the man-made intervention in these sites. Through the use of illusions we are bringing a sense of theatre to the gallery.” The group met while they were

each studying fine arts at university and although they have been working together on and off for around five years, this will be their first collaboration destined for a gallery showing. Prior to this, they created a theatre show called Some Film Museums I Have Known that was shown last year at Melbourne’s Next Wave Festival and in Sydney this year at the Old Fitzroy, and they have also toured nationally on a number of other film and cinema projects. In addition to Grand Chasm, each of the Firstdraft’s exhibition rooms will have something different to offer. In Gallery 1, Hobart sound, sculpture and interactive artist Cath Robinson’s Thought noise/wave form preludes (if played simultaneously) promises to deliver a fascinating aural experience by using audio software to make music that recreates the sound of thought. Indeed. Gallery 2 will feature Brisbane-based

artist Phoebe McDonald’s series of balsa wood constructions called Rise And fall, Again, which deal with the interaction of time and light. And finally, the third gallery will be home to Melbourne-born, Sydneybased Peter Thorn’s Interlacingis, a series of 25 dynamic paintings produced between March last and November this year. As with this series of exhibitions, Firstdraft always manages to find a good mix of artists and artworks, and it’s a great opportunity to see newcomers, as well as some more established names. What’s more, it’s entirely free. Culture, without the cost. WHAT: A series of four new art exhibitions WHERE & WHEN: Firstdraft Gallery Wednesday 23 November to Sunday 11 December

WITH JAMELLE WELLS The Department Of Fair Trading says students from 15 Sydney schools have been left out of pocket after the collapse of two companies run by 26 year old Sameer Kapoor, also known as DJ Sammy Em. Companies Yourformal and Yourafterparty allegedly owe hundreds of thousands of dollars after being hired to organise school formals that he cancelled at the last minute. Sydney comedian Dave Bloustein, who took Kapoor to court for failing to pay him after he performed at one of Kapoor’s school formals, turned his experience into a routine called The Social Contract. Pauline Hanson tells us she was betrayed on Celebrity Apprentice Australia. She reckons her reality show teammates and on-screen boss Mark Bouris didn’t treat her very well before she was sacked. The former One Nation leader says comic Julia Morris and dancer Jason Coleman played games to stay on top, and were bitchy behind her back. Former Kings Cross cop Wendy Hatfield has won her Supreme Court defamation case against the third Underbelly series, but the settlement details are confidential. Hatfield sued producers Screentime, TCN Channel Nine and Nine Network Australia over Underbelly: The Golden Mile. She said they wrongly portrayed her as having had an affair with nightclub boss John Ibrahim in the 1990s. Last year Hatfield was awarded $59,000 from the publishers of the book the series is based on. The row over using foreign actors has erupted again in a speech by Aussie film producer Antony Ginnane at a Screen Producers Association

conference. He bagged the MEAA for ruining his plan to import American actor Gena Rowlands for his latest film, Last Dance. The film, in which a Palestinian man holds a Holocaust survivor hostage, also stars Firass Dirani. After the union refused to let him use Rowlands, she was replaced by Julia Blake. The British National Theatre production War Horse will most likely get to Sydney after it tours the rest of Australia first. The critically acclaimed show about the relationship between a boy and his horse during World War I is based on the novel by Michael Morpurgo. The actors work with life-size horse puppets and the story’s also been turned into a Steven Spielberg film that opens Boxing Day. It’s reported that negotiations with the National Theatre are underway with Australia’s three major east coast cities, and the Victorian, NSW and Queensland governments are likely to help support the venture financially. The studios of ABC 702 were packed last Thursday when the star of hit Aussie movie, Red Dog, visited morning show host Sarah McDonald with his trainer. ABC staff were crammed against the glass to the booth trying to take photos of the kelpie, whose real name is Koko. Due to huge demand, organisers have added a second show of Reinventing Radio: An Evening with Ira Glass to January’s Sydney Festival. The creator and host of This American Life will present the second show at Sydney Town Hall on 11 January at 9:30pm.

NEWS GAYLORDZ II (FULL SEQUINS) Gaylordz is back at Red Rattler this Saturday 26 November and this time there will be even more surprise performances! Featuring Pluto Savage, whose Quick & Dirty appeared at CarriageWorks in 2008, Savage is sure to have an excessive amount of sequins, attitude and shazam. Betty Grumble and Mister Rio’s Boy are also both back. This event is not just a dancefloor with killer tunes but a visual feast for partygoers. Hit up Gaylordz on Facebook for more info. THE DRUM MEDIA 22 NOVEMBER 2011 • 57


frontrow@drummedia.com.au

FILM

THEATRE FOR THEATRES

REVIEW

DIRECTOR SARAH GILES REVEALS WHERE HER PASSION LIES IN THEATRE AND HOW YOU FIND IT. WORDS BY DAVE DRAYTON.

I

THIS IS NOT A FILM In Jafar Panahi’s 1997 film, The Mirror, the young lead actress decides, mid-scene, that she doesn’t want to act any longer and takes her headscarf off before running home. All of a sudden, the fictional film we’ve been watching opens up into a nonfictional one, documenting Panahi and his crew searching for her in the busy Tehran streets. This spontaneous, off-screen drama, as Panahi implicitly argues, is more revealing and valuable than the fictional thread; the young girl’s removal of her orthodox dress code functioning as a metaphor for a broader, collective frustration with Iran’s repressive, totalitarian regime. For This Is Not A Film – which makes memorable use of footage from the aforementioned film – Panahi was presented with a higher hurdle to jump. Depressingly, he received a six-year jail sentence for making anti-regime films, and an additional 20-year filmmaking ban. This ‘effort’ (as Panahi and co-director Mojbata Mirtahmasb slyly credit it) was Panahi’s response to his incrimination, shot within the confines of his apartment under house arrest, as he waits for the response to his appeal. Despite the title and mode of production (shot on video, smuggled out on a USB in a cake), it’s as much a film as any of Godard’s cine-essays, or even Paranormal Activity. And given the circumstances surrounding its making, the latter might as well be an alternate title. What This Is Not A Film most bracingly displays is a portrait of dignity and resilience, not to mention a pretty great lesson in filmmaking to boot, with Panahi putting theory into practice by revisiting his own filmography and applying lessons learned to his ‘Not-a-Film’ at hand. The final, extended shot alone is particularly ripe for film theory class debates for years to come. For these reasons, it’s as much a must-see as a must-read-aboutand-admire-conceptually. WHERE & WHEN: Screening in selected cinemas now IAN BARR

THEATRE

REVIEW

POSTS IN THE PADDOCK Performance Space at CarriageWorks There is everything here that you would expect from My Darling Patricia, the company responsible for Africa and Politely Savage, as they tell the story of Aboriginal bush ranger Jimmy Governor and his murder of the O’Brien family; adventurous modes of storytelling, cross-discipline performance encompassing everything from various methods of puppetry to pantomime to song and immersive design. Sadly, there is none of the polish, no evidence of the meticulous construction that the company has become synonymous with. Otherwise brilliant design – the performance’s accompanying installation, posts that glow like embers and emit the voices of ghosts and family, is visible through a black backdrop – is let down by tokens that break the spell; a 58 • THE DRUM MEDIA 22 NOVEMBER 2011

pair of Converse shoes beneath a traditional settler’s outfit, a collection of $2 coins passed off as currency from the 19th Century. Similarly, where past productions seamlessly blended different styles of theatre and storytelling, these varying short scenes seem fractured. Some of Claire Britton’s addresses jar as she jolts between performance and presentation. Elsewhere there are lines that seem unknown to performers read from poorly disguised scripts. Perhaps the cast where too close to the story, perhaps it was too personal to be told by those who have obviously researched it so devotedly. The untold voices in the story are heard (though bias in the telling may now have swung from one extreme to the other), and the personal connection of the cast and creatives is clearly apparent; but it feels more like an underdeveloped presentation than a production. Season finished DAVE DRAYTON

n October 2010 Sarah Giles directed David Gieselmann’s The Pigeons for Griffin; an enormous cast on a tiny stage, a boisterously dark family comedy. She’s returning to SBW Stables now with The Ugly One, another dark comedy, written by Marius Von Mayenburg, that examines narcissism and identity. Though the two scripts share more than a dark humour, “Marius, who wrote this play, and David, who wrote The Pigeons, they went to uni together, they’re great friends, they’ve worked together. In fact Marius directed the first production of The Pigeons in Berlin, so there are some similarities,” explains Giles. “It’s very interesting; people often say, ‘What are you interested in, what’s your passion?’ And it’s very hard to articulate it and I think what often happens is it kind of shows itself after a few years of work and a few different productions. I think I’ve always been intrigued by the odd. I’ve always been intrigued by the weird, by the absurd, by the funny. I think if you can poke at something you can discuss things you otherwise can’t discuss. And that’s sort of where my taste and my interest lies.” The Ugly One offered that up to Giles and from her first interaction with it, she had a vision for its production.

“I love the play, I found it fascinating, it really spoke to me and I could see how you could do it, I could see why you’d do it and that excited me. So I basically started writing to Marius’ agent in London and over the course of two years and conversations and pitching the production to various companies the stars just aligned of the Griffin show. I’m passionate about bringing it to Sydney; I think it’s ludicrous that it was written in 2006 and it’s only arriving in 2011.” While The Ugly One has previously enjoyed some big budget professional productions, Giles believes her independent production has all it needs in the script and cast of four; Jacinta Acevski, Gig Clarke,

Jo Turner and Eden Falk. “The kind of theatre I like is theatre that can only be theatre. I don’t like theatre that feels like it could be a great film. When you read this play you realise that – it’s about identity – he is using the form of theatre and notions of acting to explore that even more. All you need to do this play is four actors and by no way is that a limited version of the production. How do you define identity? This play is about the homogenisation of identity and how we’re all – through mass media, through technology, through communication – it feels like we’re slowly amalgamating into one. “It’s incredibly satisfying to watch. I feel like theatre should ask a lot of its

audience, it should ask its audience to use their imagination, it should ask the audience to not have to just sit back in a dark room and let stuff wash over you. You’ve got to be engaged. In a lot of ways this piece doesn’t feel like a play, it actually feels more like an installation; it’s an open text, it needs a vision, you need to know what you want to do with it and what you want to say with it so it’s exciting in that sense.” WHAT: The Ugly One WHERE & WHEN: SBW Stables Wednesday 23 November to Saturday 17 December

SUN, SAND & CINEMA JAKE MILLAR TALKS TO DIRECTOR ADAM ROSENBERG, WHOSE PORTRAIT OF A COLOURFUL INNER WEST IDENTITY IS SCREENING AT THIS YEAR’S BONDI SHORT FILM FESTIVAL.

F

or many, Sydney is defined by its landmarks. It’s the Opera House, the Harbour Bridge, maybe even the beaches. But in some ways Sydney’s true icons, the things that give the city its real character, are its people. And they all have a story to tell. It’s this principle that guides Maurice, director Adam Rosenberg’s latest short film. Maurice (pronounced like ‘Morris’) is the film’s namesake and subject, and whose colourful presence has become a familiar sight to locals in Stanmore, where he has worked for the past eight years washing car windscreens at the corner of Johnston St and Parramatta Rd. He is, to put it mildly, quite a character. “The day I arrived to meet him he was dressed head to toe as a pirate, complete with a parrot on top of his hat,” recalls Adam of his first encounter with Maurice. “And I knew that if he agreed to take part, the film was going to have to be a portrait just about him.” Maurice has been selected as one of finalists in the 11th annual Bondi Short Film Festival; an impressive achievement, given the shortlist of

14 finalists is the result of whittling down a selection of more than 200 submissions. At first, Adam intended to make a film about windscreen washing more broadly and hoped to speak to washers, police and council members about the topic. “It’s kind of this grey area where it is illegal but no one really does anything about it. So I initially wanted to talk about the entire issue because I had a great interest in it.” But after struggling to find people willing to take part, Adam asked around to see if anyone knew of windscreen washers who could make possible subjects. Maurice’s name kept turning up and, in what will come as little surprise to anyone who’s met him, once they started filming he gave Adam and his crew plenty of material.

“After spending a day with him, he was entertaining and played up to the camera and wasn’t shy at all. He gave us plenty to work with so we ended up spending four or five days with him and it was great fun.” What was originally planned as a sixminute university assignment soon stretched out to a short documentary that now clocks in at just under ten minutes. Although he was very happy with how the project turned out, Adam says being chosen as a finalist came as a surprise. He was delighted just to be nominated and anything else is a bonus. Whatever the outcome for Maurice, there’s no denying it’s up against some stiff competition. Adam’s fellow finalists represent some of the country’s most talented independent filmmakers, with entries addressing

everything from gardening to grief and identity to Internet porn. Festival director Francis Coady says the standard is impressive. “Each year we are blown away by the exceptional quality of submissions and 2011 is no different. “It was really difficult to choose just 14 finalists from so many amazing films. I’m really looking forward to presenting the final selections to our audience.” Now that summer is finally on its way – admittedly after a few false starts – this festival is even more reason to find yourself at Bondi in the coming weeks. WHAT: Bondi Short Film Festival WHERE & WHEN: Bondi Pavilion Saturday 26 November


THE DRUM MEDIA • 59


60 • THE DRUM MEDIA


TOUR GUIDE FEATURE TOUR

THE GETAWAY PLAN

A year or so ago, Melbourne’s The Getaway Plan officially came off hiatus, reformed and began to record new material. The band’s second album, Requiem, is the result, recorded over four months in Toronto with Grammy-winning producer David Bottril (Muse, Placebo, Tool, Silverchair). To celebrate this comeback, The Getaway Plan is heading out on tour with Break Even and Gatherer. They play The Metro Friday, the Cambridge Saturday and University of Canberra Sunday.

NATIONAL

FLORENCE + THE MACHINE @ SEYMOUR CENTRE. PIC: JOSH GROOM

FLORENCE + THE MACHINE SEYMOUR CENTRE 15/11/11

A music lover witnesses countless gigs in their lifetime. Some bad, some average, some great, but only very occasionally are you able to be part of something truly special and unique. Florence + The Machine’s only Australian appearance, as part of the Debit Mastercard Priceless Music series, was one such instance. The Seymour Centre was the perfect venue. With just 12 rows of seats (each holding a Venetian-style masquerade mask to be worn during the show), it was incredibly intimate and had a theatrical feel perfectly suited to the performance. Florence Welch, resplendent and regal in a sequinned gown, glided to centre-front and opened the proceedings with Only If For A Night. Supported by three backing singers, harp, keys,

guitars and two drummers, Welch wasted no time in showcasing her extraordinary vocal ability. The quiet/loud/quiet/louder/quiet/MASSIVE dynamic of her songs combined with gothic lyrics drenched in emotion left the crowd, who – due to the amphitheatre layout – were pretty much on top of her, absolutely awestruck. Tiptoeing the floor barefoot, spinning in circles and gesticulating elegantly, she performed her new album almost in its entirety, along with favourites such as Dog Days Are Over and Cosmic Love, in which the harp was beautifully precise. By the time she ended with Rabbit Heart (Raise It Up) and Spectrum, the audience had long since been on their feet. After the two-song encore was brought to a fittingly epic end with No Light, No Light, attendees reluctantly made their way to the exit in the knowledge that they had been lucky enough to be part of something genuinely beautiful. Indeed, so magical was the atmosphere in the room during this perfect occasion that to step back into the real world felt painfully mundane. This was a wonderful and unforgettable night. Rob Townsend

SEEKER LOVER KEEPER: Nov 22 St Stephen’s Uniting Church Sydney, Nov 23 Christ Church Cathedral Newcastle, Nov 24 St Stephen’s Uniting Church Sydney, Nov 25 St Paul’s Anglican Church Canberra MADDY HAY: Nov 23 Camelot Lounge THE ANGELS: Nov 23 Kingsford Juniors, Nov 24 Davistown RSL, Nov 25 Southern Cross Club, Nov 26 Belmont 16ft Sailing Club, Dec 9 Penrith Panthers MARK MY WORDS: Nov 24 Blush Nightclub, Nov 25 Killer Nightclub, Nov 26 Chatswood Youth Centre THE STRIDES: Nov 24 Shore Club, Nov 25 Great Northern Newcastle, Nov 27 Brass Monkey KOBRA KAI: Nov 24 Mona Vale Hotel, Dec 2 Cambridge Hotel, Dec 9 The Patch, Dec 17 The Gaelic, Dec 18 Clubhouse STICKY FINGERS: Nov 24 Yours & Owls, Nov 25 Upstairs Beresford HTRK: Nov 24 GoodGod MATT CORBY: Nov 24 Oxford Art Factory BOOM! BAP! POW!: Nov 24 Kings Cross Hotel HEAVEN THE AXE: Nov 25 Annandale Hotel STRANGE TALK: Nov 25 Oxford Art Factory NUMBERS RADIO: Nov 25 The Burdekin, Nov 26 Great Northern Newcastle HARMONY: Nov 25 Pot Belly Bar, Nov 26 Kings Cross Hotel THE GETAWAY PLAN: Nov 25 The Metro, Nov 26 Cambridge Hotel, Nov 27 University of Canberra GUINEAFOWL: Nov 25 The Standard, Nov 26 Yours & Owls THE MISSION IN MOTION: Nov 25 Spectrum, Nov 27 The Lair MI-SEX: Nov 25 Dapto Leagues Club, Nov 26 Rooty Hill RSL, Dec 2 The Basement Circular Quay EMMA DAVIS: Nov 25 Hibernian House, Dec 3 The Front ENDLESS HEIGHTS: Nov 25 Hermann’s Bar, Dec 7 Great Northern Newcastle, Dec 14 Bar 32, Dec 16 Chatswood Youth Centre, Dec 17 St James Hotel, Dec 18 Unanderra Community Centre THUNDAMENTALS: Nov 26 Oxford Art Factory MESSRS: Nov 26 Upstairs Beresford HOUSE VS HURRICANE: Nov 26 St John’s Hall (arvo), Nov 26 The Gaelic NIKKO: Nov 26 Kings Cross Hotel, Nov 27 Yours & Owls THE LAST KINECTION: Nov 26 GoodGod, Dec 3 Cambridge Hotel DAMNDOGS: Nov 30 Beach Road Hotel, Dec 2 Upstairs Beresford THE SCRAPES: Nov 30 Kings Cross Hotel CROOKED SAINT: Nov 30 Rock Lily GOLD FIELDS: Nov 30 Beach Rd Hotel, Dec 1 The Patch THE HELLO MORNING*: Nov 30 Annandale Hotel, Dec 1 & 3 Old Manly Boatshed GRINDERMAN: Dec 1 The Factory LACHY DOLEY: Dec 1 The Vanguard, Dec 2 The Junkyard, Dec 3 Beaches Hotel, Dec 15 Old Manly Boatshed, Dec 18 Vault 146 A NIGHT AT THE CROSSROADS feat. DOM TURNER, IAN COLLARD, SUZANNAH ESPIE and more: Dec 1 The Basement Circular Quay, Dec 7 Lizotte’s Newcastle, Dec 9 Lizotte’s Dee Why, Dec 10 Lizotte’s Kincumber LOVE OF DIAGRAMS: Dec 1 Kings Cross Hotel DONNY BENÉT: Dec 2 Kings Cross Hotel

themusic.com.au

ASHTON TREMAIN: Dec 2 Narrabeen Sands Hotel TEETH & TONGUE, SONGS: Dec 2 Goodgod THE MORNING NIGHT*: Dec 2 Phoenix Darlinghurst SEEK THE SILENCE: Dec 2 YoYo’s Youth Centre, Dec 3 Lansdowne Hotel SAND PEBBLES: Dec 2 The Front, Dec 3 GoodGod HERMITUDE: Dec 2 Hotel Gearin, Dec 9 The Standard THE ART: Dec 2 The Gaelic MIC CONWAY & ROBBIE LONG: Dec 3 Clarendon Guesthouse THE SWAMP DANDIES: Dec 3 Lewisham Hotel FELICITY GROOM: Dec 3 Upstairs Beresford IMPOSSIBLE ODDS: Dec 3 Oxford Art Factory DIG: Dec 3 Sydney Opera House Studio THY ART IS MURDER: Dec 4 Bald Faced Stag, Dec 7 Cambridge Hotel, Dec 8 Unanderra Community Centre BEN WELLS & THE MIDDLE NAMES: Dec 4 The Front, Dec 5 Phoenix Bar, Dec 7 Kings Cross Hotel, Dec 8 Great Northern Newcastle NOAH TAYLOR & THE SLOPPY BOYS: Dec 6 Notes ENDLESS HEIGHTS: Dec 7 Great Northern Newcastle, Dec 14 Bar 32, Dec 16 Chatswood Youth Centre RAPSKALLION: Dec 8 The Front, Dec 9 Clarendon Guesthouse, Dec 10 Camelot Lounge HOWLING BELLS: Dec 8 ANU Bar, Dec 9 Newcastle Leagues, Dec 10 The Standard, Dec 11 The Patch THE CHURCH: Dec 8 Lizotte’s Kincumber, Dec 11 Waves, Dec 15 & 16 Lizotte’s Newcastle, Dec 17 Enmore Theatre THE APARTMENTS*: Dec 9 The Factory BLEEDING KNEES CLUB: Dec 9 World Bar BUSBY MAROU: Dec 9 The Gaelic TOUCAN: Dec 9 Spectrum, Dec 10 Transit Bar ROSE TATTOO: Dec 9 & 10 Annandale Hotel THE SNOWDROPPERS: Dec 9 The Metro THE PARADISE MOTEL: Dec 10 Notes THE SIREN TOWER: Dec 10 The Square SKYWAY: Dec 10 St James Hotel, Dec 11 Bald Faced Stag TIM FREEDMAN: Dec 13 & 14 Lizotte’s Newcastle, Dec 17 The Metro SNAKADAKTAL: Dec 14 GoodGod DARREN HANLON: Dec 14 Street Theatre, Dec 21 Clarendon Guesthouse, Dec 22 St Stephen’s Uniting Church Sydney SET SAIL: Dec 15 Oxford Art Factory OSCAR + MARTIN: Dec 15 Yours & Owls, Dec 16 Oxford Art Factory HOLLAND*: Dec 15 Oxford Art Factory BOB EVANS & ADALITA: Dec 15 Lizotte’s Kincumber, Dec 16 Notes, Dec 17 Lizotte’s Newcastle, Dec 18 Lizotte’s Dee Why JAMIE HUTCHINGS: Dec 16 Clarendon Guesthouse EXPATRIATE: Dec 17 Kings Cross Hotel BLACKEYED SUSANS: Dec 17 The Vanguard FLAP!*: Dec 17 Camelot EMILY BARKER*: Dec 20 Supper Club BRITISH INDIA: Dec 31 Annandale Hotel BLUEJUICE*: Jan 5 Entrance Leagues, Jan 6 Newcastle Panthers THE BAREFOOT DIVAS: Jan 8, 9, 10 & 11 Carriageworks THE RED PAINTINGS: Jan 8 Entrance Leagues, Jan 9 The Factory, Jan 12 Tuggeranong Alliance Church THE DRUM MEDIA • 61


TOUR GUIDE DRUM PRESENTS

INTERNATIONAL

JOHN HAMMOND JR: Nov 22 & 23 The Basement Circular Quay, Nov 25 Southern Cross Club AFTER THE FALL: Nov 23 Bar 32 LADYHAWKE: Nov 23 Phoenix Bar Darlinghurst JAPE: Nov 24 The Lair SALT N PEPA: Nov 24 & 25 Enmore Theatre XZIBIT: Nov 24 Fannys Nightclub, Dec 10 The Factory DAEDELUS: Nov 25 GoodGod SHADY GLIMPSE: Nov 26 The Wall ELTON JOHN: Nov 26 & 27 Lyric Theatre, Dec 3 & 4 Hope Estate THE CONTORTIONIST: Nov 26 Venom, Nov 27 Valve Bar DOLLY PARTON: Nov 29 Allphones Arena MISFITS: Dec 1 Manning Bar APPARAT: Dec 1 The Standard EMINEM: Dec 2 & 4 Sydney Football Stadium MULATU ASTATKE: Dec 2 The Factory THE GASLAMP KILLER: Dec 2 Oxford Art Factory ALL SHALL PERISH: Dec 2 Blackbox Theatre, Dec 3 Masonic Hall (arvo), Dec 3 Bald Faced Stag (night) OLIVER $*: Dec 3 World Bar, Dec 9 Trinity FUCKED UP: Dec 6 The Standard MUDHONEY: Dec 6 Manning Bar KURT VILE & THE VIOLATORS*: Dec 6 Oxford Art Factory, Dec 7 Red Rattler OFF!: Dec 7 Annandale Hotel FUTURE OF THE LEFT: Dec 8 Annandale Hotel JEDI MIND TRICKS: Dec 8 The Factory BIG FREEDIA: Dec 8 Goodgod FOO FIGHTERS, TENACIOUS D: Dec 8 Sydney Football Stadium THE INTERNATIONAL SWINGERS: Dec 8 The Metro SIGHTS & SOUNDS: Dec 8 Spectrum, Dec 9 Cambridge Hotel BLACK JOE LEWIS & THE HONEYBEARS: Dec 9 The Factory K-CI & JOJO: Dec 9 Enmore Theatre OMAR RODRIGUEZ LOPEZ GROUP: Dec 9 ANU Bar, Dec 10 Manning Bar SADE: Dec 9 & 10 Sydney Entertainment Centre GUITAR WOLF: Dec 10 Sandringham Hotel GANG GANG DANCE: Dec 10 Sydney Opera House Studio EXPLOSIONS IN THE SKY: Dec 11 The Metro CHALI 2NA: Dec 11 Upstairs Beresford FRANK FAIRFIELD: Dec 13 Brass Monkey, Dec 14 The Basement Circular Quay AXEMEN*: Dec 15 Red Rattler, Dec 16 Black Wire Records OPETH: Dec 16 Enmore Theatre FRITZ KALKBRENNER*: Dec 17 Chinese Laundry ROUND TABLE KNIGHTS: Dec 17 Cream Tangerine, Dec 22 Trinity Bar HANNI EL KHATIB: Dec 29 Kings Cross Hotel THE DEATH SET: Dec 29 The Standard SCRATCH PERVERTS: Dec 30 Oxford Art Factory SPACE IBIZA PRESENTS: KEHAKUMA feat. SETH TROXLER, RADIOSLAVE and more: Jan 1 Greenwood SASHA*: Jan 1 The Metro FLEET FOXES: Jan 2, 3 & 4 Sydney Opera House Concert Hall CSS*: Jan 3 The Standard GROUPLOVE: Jan 3 The Factory ALOE BLACC: Jan 4 Enmore Theatre JEAN GRAE*: Jan 4 Goodgod EASY STAR ALL STARS: Jan 4 Factory Theatre TOTALLY ENORMOUS EXTINCT DINOSAURS: Jan 4 Trinity Bar HAWKSLEY WORKMAN: Jan 4 Clarendon Guesthouse, Jan 5 Brass Monkey, Jan 6 Notes THE JIM JONES REVUE: Jan 5 Annandale Hotel BEIRUT: Jan 5 Sydney Opera House Concert Hall PETE ROCK: Jan 5 Upstairs Beresford YUKON BLONDE*: Jan 5 Kings Cross Hotel THE DAD HORSE EXPERIENCE: Jan 5 Phoenix Bar, Jan 6 The Vanguard, Jan 7 The Junkyard THE KOOKS: Jan 6 Hordern Pavilion JIM WARD: Jan 6 Sandringham Hotel FLYING LOTUS: Jan 6 The Metro 62 • THE DRUM MEDIA

GUINEAFOWL: Nov 25 The Standard, Nov 26 Yours & Owls NIKKO: Nov 26 Kings Cross Hotel, Nov 27 Yours & Owls GOLD FIELDS: Nov 30 Beach Rd Hotel, Dec 1 The Patch HOMEBAKE: Dec 3 The Domain MUDHONEY: Dec 6 Manning Bar KURT VILE & THE VIOLATORS: Dec 6 Oxford Art Factory, Dec 7 Red Rattler FESTIVAL OF THE SUN: Dec 9 & 10 Sundowner Breakwall Tourist Park SUMMER RHYTHM: Dec 9 – 11 Goolabri Resort EXPLOSIONS IN THE SKY: Dec 11 The Metro BOB EVANS & ADALITA: Dec 15 Lizotte’s Kincumber, Dec 16 Notes, Dec 17 Lizotte’s Newcastle, Dec 18 Lizotte’s Dee Why THE DEATH SET: Dec 29 The Standard PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley GROUPLOVE: Jan 3 The Factory ALOE BLACC: Jan 4 Enmore Theatre THE JIM JONES REVUE: Jan 5 Annandale Hotel THE KOOKS: Jan 6 Hordern Pavilion ARCTIC MONKEYS: Jan 12 Hordern Pavilion, Jan 13 Enmore Theatre THE DAMNED: Jan 21 The Metro NOEL GALLAGHER’S HIGH FLYING BIRDS: Jan 23 Enmore Theatre KASABIAN: Jan 24 Hordern Pavilion ROYKSOPP: Jan 27 Enmore Theatre GIRL TALK: Jan 28 Enmore Theatre SEETHER: Feb 5 The Metro JESSIE J: Mar 8 Hordern Pavilion FUTURE MUSIC: Mar 10 Royal Randwick Racecourse WILD FLAG: Mar 13 Manning Bar BLUE MOUNTAINS MUSIC FESTIVAL: Mar 16 – 18 Katoomba JOHN DAHLBÄCK: Jan 6 Home, Jan 8 Beachcomber Hotel ARCTIC MONKEYS: Jan 12 Hordern Pavilion, Jan 13 Enmore Theatre NOEL GALLAGHER’S HIGH FLYING BIRDS*: Jan 23 Enmore Theatre KASABIAN*: Jan 24 Hordern Pavilion ROYKSOPP*: Jan 27 Enmore Theatre GIRL TALK*: Jan 28 Enmore Theatre JESSIE J: Mar 8 Hordern Pavilion WILD FLAG: Mar 13 Manning Bar

FESTIVALS STEREOSONIC: Nov 26 Sydney Showground BREAKOUT: Dec 2 Hordern Pavilion/Byron Kennedy Hall HOMEBAKE: Dec 3 The Domain FESTIVAL OF THE SUN: Dec 9 & 10 Sundowner Breakwall Tourist Park SUMMER RHYTHM: Dec 9 – 11 Goolabri Resort PEATS RIDGE: Dec 29 – Jan 1 Glenworth Valley MISSION TO LAUNCH: Dec 31 Weston Park HARBOUR PARTY: Dec 31 Luna Park SHORE THING: Dec 31 Bondi Park FIELD DAY: Jan 1 The Domain ILLAWARRA FOLK FESTIVAL: Jan 12 – 15 Bulli Showground JAZZGROOVE SUMMER FESTIVAL*: Jan 13 – 15 various venues, Surry Hills and Redfern NEW BEGINNINGS: Jan 14 Morriset Showground BIG DAY OUT: Jan 26 Sydney Showground LANEWAY: Feb 5 Sydney College Of The Arts SOUNDWAVE: Feb 26 Sydney Showground PLAYGROUND WEEKENDER: Mar 2 – 4 Del Rio Riverside Resort FUTURE MUSIC: Mar 10 Royal Randwick Racecourse CMC ROCKS THE HUNTER: Mar 16 – 18 Hope Estate BLUE MOUNTAINS MUSIC FESTIVAL*: Mar 16 – 18 Katoomba THE GUM BALL: Apr 27 & 28 Dashville * indicates new or amended listing this week

GYROSCOPE @ THE FACTORY PIC: LINDA HELLER-SALVADOR

GYROSCOPE, CLOSURE IN MOSCOW, CITY RIOTS FACTORY THEATRE 19/11/11

It’s been 18 months since Perth four-piece Gyroscope played their last headlining show in Sydney. Without a new album to show for it, many of the fans in this crowd would’ve said that was far too long a gap between drinks but to appease the masses after such a long hiatus, this tour had a setlist chosen for the people, by the people, or to be more precise a Facebook poll. On a night when heavy, punishing rock music was vital currency City Riots came across a little poor. Too slick and pop/punk for this bill, the band would’ve been better suited to listening to some of the great legacy of punk and hardcore that has come out of their hometown of Adelaide. Closure In Moscow were a far different prospect for the crowd with their long fluid songs, the epic sentiment behind them and melodies that twisted and turned, dancing around lead singer Christopher de Cinque’s polarising voice. This was definitely more Mars Volta than Blink-182. Though the band is perfectly capable of filling a set with long, progressive alternative songs, if you don’t connect with de Cinque’s voice then you end up willing the band to finish after just one or two of them. Though Gyroscope have become commercial radio regulars in recent years, their live show is still based around the blistering, punk-inspired energy that the boys had as hyper 19 year olds when their first EP was released. Only now they’ve had ten years to develop their stagecraft and musicianship. Right from the off, the band performed with an intensity of 110 per cent, burning through older favourites like Doctor Doctor and Confidence In Confidentiality alongside newer material such as What Do I Know About Pain?. They even dropped in The Lesser Me from early EP, Midnight Express, and Sexxxy – a song they haven’t played in about five years. While a shirtless frontman Dan Sanders was always the main focus, the show was a reminder of just how well these four fit together as musicians. At the back Rob Nassif has become an absolute powerhouse, his shock of blonde hair dramatically catching the light, while Brad Campbell threw out bass riffs that had the sole purpose of getting the audience moving. The way he segued from the bass riff of Fast Girl to the band’s cover of Beds Are Burning was a highlight on a night when thrills came thick and fast. Danielle O’Donohue

BRIGHT EYES, DARREN HANLON ENMORE THEATRE 14/11/11

Queensland troubadour Darren Hanlon was an unlikely support act, but the crowd quickly warmed to his earnest personality both musical and otherwise. First performing solo with just a guitar, then joined by a drummer and Portland musician Shelley Short, to finally singing gently with a ukulele, the set rested on Hanlon’s conversational tone and the harmonies he wove with Short. When he was alone his manner resembled a Play School telling, complete with chatty interludes, but when his voice was doubled by the percussion-shaking Short, the tunes took on a whole new life – Scenes From A Separation allowing her voice to shine. A highlight was I Waited For The 17, a grand display of Hanlon’s self-effacing humour. The last time Sydney was treated to a full Bright Eyes set was 2005, with main man Conor Oberst retiring the name several years later and embarking on an entirely separate adventure. This year the moniker returned with The People’s Key and tonight’s set comprised tunes from across Oberst’s decade-plus career. Opening with the foot-stomping Four

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Winds, the ensuing set showed an Oberst in fine voice and form – surprising, considering his notoriously volatile nature – whether raucously yelling, with bodily actions to match, or solemnly enunciating. His backing musicians helped matters too, with Nate Walcott adding a beautiful muted trumpet to back the acoustic Lua and keyboardist Laura Burhenn’s vocals adding a sweet layer, particularly during the climax of Lover I Don’t Have To Love and the female-driven We Are Nowhere And It’s Now. The audience sang along with reckless abandon, often lunging forward, attempting to touch Oberst’s hands. You could hear a pin drop when he offered more sombre numbers, like the piano-driven Ladder Song and the haunting No One Would Riot For Less, his voice shaking with emotion. Old songs like Bowl Of Oranges and The Calendar Hung Itself… were just as warmly received as newbies like the joyous Shell Games, while Cartoon Blues saw Oberst make use of silence as much as sound, often stopping for dramatic effect. A manic Road To Joy was thrown in as an encore, with Oberst showing his unique sense of humour when introducing his bandmates before wrapping up with One For You, One For Me. It’s somewhat ironic that one of music’s most infamously depressed figures could evoke such joy from both himself and the audience, but it happened tonight. Bravo. Giselle Nguyen

THEY WILL HAVE THEIR WAY

SYDNEY OPERA HOUSE CONCERT HALL 18/11/11 Dear Clare Bowditch, tonight you owned the Finn brothers. And that’s huge praise coming from someone who’s had a laminated poster of Crowded House on their bedroom wall since they were 12 (true). But like the MC at a wake that tells slightly inappropriate stories to convert tearful memories into fuel for drinking and laughter, tonight, Clare, you were playing with the memory of how great this music is without the need to keep it at arm’s length or honour its memory out of context. It began after some unmistakably beautiful, but still quite earnest performances that started the show. Don’t get me wrong, it was a joy to hear some of the best of our acoustic best enjoying the rare treat of playing someone else’s tunes while using a decent PA. And these were fabulous, especially Paul Dempsey’s version of Message To My Girl, complete with the awkward sexiness of the original, plus Holly Throsby’s passive lullaby rendition of Not The Girl You Think You Are. But then, Clare, you bounded onstage with a huge smile on your face as you gently called us on our bullshit; you rattled us out of ‘passive recital hall audience mode’ and made us sing along with Better Be Home Soon. Giving us slightly upmarket versions of the traditional backing singer fare to play with and supporting the initial awkwardness by allowing yourself to appear the daggiest person in the room first. But by the time you got to do your thing with that incredible half belter/half croon style you’ve developed for your own work, well, it was just brilliant. Now to be clear, you weren’t the only highlight; indeed all your collaborators’ stars shone brightly (and much more convincingly than on the recorded tributes that inspired this show). Extra special was seeing Sarah Blasko’s channelling of Tim Finn’s stage jerks during My Mistake and Dirty Creature (the best way to give kudos to the originals, actually) and to Sally Seltmann’s divine restraint with I Hope I Never. And, Clare, Oh Mercy’s Alex Gow was absolutely vying to take your crown as the man who proudly showed his daggy stripes (he did a great job tonight, too). But, Clare, after Better Be Home Soon – and indeed whenever you came back onstage – you did the thing that we really needed; you made us comfortable. As a performer you hit the mark of course (your Distant Sun duet with Paul Dempsey was testament), but you were an obvious, generous fan too, encouraging the singalong (literally). Liz Giuffre


JEBEDIAH, LOON LAKE, SPLIT SECONDS

DOLLY PARTON

Perth’s Split Seconds played easily accessible, beautifully arranged and crafted pop songs. Rhythmically interesting, they had a swinging Talking Heads thing happening for one of their songs and a refreshing 3/4 beat folk rock ballad that kept things interesting. Their cover of Blur’s Coffee And TV was fun, sounding almost better than the original. A solid honest performance by Perth’s new next big thing.

Dolly Parton is many things; while people these days often only think of her as a top heavy gay icon, bedazzled advertisement for LA’s wealthiest cosmetic surgeons or champion of nine-to-five workers everywhere, this veteran country singer/songwriter and multi-instrumentalist is really so much more than the kitschy, camp image of recent years.

METRO THEATRE 19/11/11

CLAP YOUR HANDS SAY YEAH @ OXFORD ART FACTORY. PIC: ANGELA PADOVAN

CLAP YOUR HANDS SAY YEAH OXFORD ART FACTORY 14/11/11

While touring around Australia for Harvest, Clap Your Hands Say Yeah stopped by for a sideshow at Oxford Art Factory that was a mixed affair. Despite of a few technical difficulties at first, the band got going once the heavy, thumping percussion of Satan Said Dance kicked in. The five-piece band floated smoothly from instrument to instrument and beat the rhythm into the brains of onlookers, constantly breaking the pace and keeping it interesting. Things slowed down a bit in the second third of the set as the band settled in for some mellower tracks. The soft acoustic melodies of newer songs such as In A Motel combined with Alec Ounsworth’s bittersweet and crushed-together lyrics made for a melancholic and beautiful moment, but it wasn’t enough to hold the attention of the audience. Unfortunately the crowd was just unusually stagnant for one that clearly knew and appreciated the music of the band. The audience was more than happy to sing along word for word and have a little foot bounce, but apart from a few Clap Your Hands tragics up the front and centre, no one seemed overly enthused. This could be a result of the average age of the punters – mid-twenties and thirties, the kind of people that would have discovered the band with their first 2005 release – combined with the fact that it was a Monday night – generally not the most raging day of the week – but there seemed to be more to it than that. The reaction of the audience was essentially a parallel of fans’ reactions to their albums – they see CYHSY at their best when they are pounding and catchy. This was reinforced when the band kicked back into older and percussion-heavy material such as Is This Love? and the front few rows jumped on the chance to lose their shit. Clap Your Hands Say Yeah played a brilliant and varied set, but older tunes were what the crowd really wanted. As suggested by Ounsworth, a Monday night just isn’t the right day for a gig. Cara Sayer-Bourne

THOUSAND NEEDLES IN RED, FIRES WERE STARTED CITY DIGGERS 17/11/11

Do you miss the era of extremely down-tuned guitars, rapping, frantic jumping up and down and strictly no guitar solos in heavy music? If so, Wollongong/Sydney crew Fires Were Started are likely to be your new favourite band. Steel Panther are bringing heavy metal back and these lads are doing their damnedest to revive nu metal, albeit with a sense of foul-mouthed humour and self-awareness. This genre hasn’t aged well, but they didn’t care and took to the task with vigour, frontman Matt Bragg spouting absurd rhymes and banter. If you’re going to do this shtick you may as well go all the way, as the constant references to 1999 indicated. Utterly ridiculous but amusing. Thousand Needles In Red vocalist Clint Boge was in a boisterous, yet relaxed mood, the setting enabling him to throw himself about with abandon during songs, as well as crack jokes, engage individual punters and lament the lack of Australian heavy rock currently being played on radio in between the music. Opening with the crunchy melodicism of Fire In The Sky and Hold The Line, the Sydney/ Brisbane hard rockers lent heavily on their

debut full-length, Empires, also tossing in a few select cuts from their previous EP. On the nu metal front, the quartet has been afforded such a tag by detractors, albeit somewhat unfairly, as their songwriting and dynamics are wider in scope than such narrow categorisation would suggest. Sure, the early likes of Enemy Inside do cater to that audience to some extent, but the majority of their set indicated a significant growth, thanks to the nous of songwriters and predominant presences Boge and guitarist Tristan Bouillaut, even if they’re still honing a sound. A soaring Through The Looking Glass and Scars were standouts. The sub-par turnout and inanimate demeanour of some in the room ensured the gig was never likely to reach any grand heights, but it wasn’t due to lack of application or zeal from the headliners. This band is building – slowly in some parts of the country no doubt, but surely. Brendan Crabb

TV ON THE RADIO, DAPPLED CITIES

Loon Lake brought quirky arrangements, a sense of fun and some fans it seemed along with them. Their relaxed vibe certainly gave the audience something to smile about. They however also showed a deeper side to the carnival atmosphere, showing there is more than first meets the eye. Moments of perfection followed as well as some messier ones, but Melbourne’s Loon Lake is definitely one to watch. Jebediah played a blistering set. The anthemic She’s Like A Comet got the audience nicely warmed up just before sending them over the top with the opening strains of Military Strongman. Only three songs in and already the excitement was almost too much for some fans as drinks went flying front of stage. It had certainly been a long time between drinks for these guys and the joy at playing at the Metro again was evident on the band’s faces and later voiced by Kevin Mitchell. As a frontman, Mitchell’s full-on, no-nonsense straightup delivery has always been a strength of this band. Live, his pure enthusiasm and energy is contagious. Bassist Vanessa Thornton, who barely stopped smiling during the entire performance, was brilliant as always. Animal was a big hit, with the audience doing a fair bit of the singing as they also did with Harpoon. Jebediah gave their fans a show they will be slow to forget, a one hundred and ten per cent delivery rate that made each song, old and new, sound like they possibly couldn’t do any better – until the next song.

Things got considerably cosier in the break as the sold-out crowd of largely diehard fans vied for the best vantage point. Playing their first Australian sideshow in three years, TV On The Radio delivered an absolute sledgehammer of a show. Starting with the tinkle of sleigh bells and whistling, then building into heavy bass and driving drums, the energy was electric both on and off stage. They whirled through tracks from their most recent album, Nine Types Of Light, shifting tempo and dynamics as the band members fed off each other seamlessly. Second Song brought a roar from the audience and Will Do was mesmerising. The set took a rockier turn with Caffeinated Consciousness as the dancefloor turned into a seething moshpit. Arms pumping and heads banging, Tunde Adebimpe fuelled the adoring fans as he raged around the stage, sweat flying. The problem was the sound. It was painfully loud to the point where it was muddy and distorted and most of the delicacies and layering was lost. The trombonist suffered the greatest injustice as you could neither hear nor see him due to some poor lighting. Kyp Malone’s beautiful falsetto harmonies still seemed to slice through the noise occasionally, which was refreshing. Of course the impressively enthusiastic Sydney crowd did not care one bit as their rib cages rattled with thundering drums and Wolf Like Me provided the perfect explosive high on which to close. Appreciation was showered and an encore was demanded to top off a powerful and unforgettable show. Richard Fearless from Death In Vegas provided a surprise DJ set in the foyer that ensured the punters were grooving out the door, but few lingered to catch his funky selection of party pulses. Alex Hardy

Indeed, in her first Sydney show in over 25 years, this true diva gave Australian fans a glimpse of the incredible breadth of her talent, wrapping it all up in her infectious self-deprecating humour with stories about her very humble but loving beginnings and one hilarious tale of losing a Halloween Dolly Parton lookalike contest to a bunch of six foot plus drag queens. This was an old-fashioned night of entertainment as Parton took the audience back to the Great Smoky Mountains of Tennessee to sing bluegrass like she was raised on with her ten-piece band (Rocky Top, Little Sparrow, Coat Of Many Colours), got the crowd singing along to anthems (Jolene, 9 To 5, Here You Come Again and Islands In The Stream) and shared some of the songs that she loves herself but didn’t write (Help, Walking On Sunshine, Stairway To Heaven). Of course, Parton finished the show with I Will Always Love You, a song she wrote that Whitney Houston took back to the top of the charts almost 20 years after Parton first recorded it. In the process of two and a half hours of hits, Parton played banjo, guitar, piano, lap steel, autoharp and tin whistle (all bedazzling of course). These days when we’re chuffed to see young divas who can sing and dance at the same time (Britney, here’s looking at you), Parton was a reminder that we should expect so much more. The 65 year old was buzzing with energy and looked as though she enjoyed every minute of the show. And the audience certainly did.

Their performance made this reviewer slightly nostalgic for the heady days of Aussie indie rock, but glad she was lucky enough to have caught them this time round.

Though the star promised it wouldn’t take her 25 years to return to Australia, this tour really does feel like we’re getting one last chance to see the Grand Dame of Country. And whether your interest in Parton stretches back to her days as a young performer working with country legend Porter Wagoner or her pop renaissance, the Dolly Parton Show had a little bit of everything for everyone.

Francesca Palazzolo

Danielle O’Donohue

METRO THEATRE 15/11/11

Fresh off the back of a weekend of Harvest festivities, Dappled Cities looked not a bit worn out and, despite the cruisey nature of their glossy indie pop, they performed with an energy that gave a real zest to their show. They opened with the catchy number Fire, Fire, Fire before launching into a track from their freshly completed new 2012-due album, Real Love. They showcased a number of new tracks between their older faithfuls, but their foolproof combination remained constant – simple melodies and sweet harmonies that get into your head and stick there. The room steadily filled and The Price sparked a spree of bopping and grooving.

ALLPHONES ARENA 15/11/11

SHE POP performing them live because you can just throw this crazy shape into the whole scope of our set. I think it does present something a bit different for us.”

PERTH FIVE-PIECE BOOM! BAP! POW! ARE SHOWING OFF MORE SWAGGER, AS NOVAC BULL EXPLAINS TO MICHAEL SMITH. Heading over from Perth on their fourth east coast tour for the year, having opened for The Royal Crown Revue in January and Eli “Paperboy” Reed in April, as well as performing at Brisbane’s industry showcase, BigSound, Perth five-piece Boom! Bap! Pow! are launching their new double A-side 7” single, Furniture/Never Mean Nothing. “These songs are really in quite a different direction,” singer Novac Bull says, remarkably bright and perky considering it’s 8.30am Perth time when she takes Drum’s call. “These are the result of Clint [Bracknell], our bass player, listening to a lot of Ben Kweller and a bit of Frank Yamma with the country and at the same time I was delving into the world of Dolly Parton, so it was a lot more languid in the approach lyrically and I think more of a swagger. There’s still an element of soul, I think, in terms of, like, Blue Eyed Soul. I love

NEW GUN

Plastic Guns is the first taste of Emperors’ forthcoming debut album, scheduled for release in early 2012. It finds them taking their sound in a new direction, replacing layers of guitars for a pop sensibility. You can find the Perth band bringing that direction of the east coast, playing Thursday at the Lansdowne and Friday at Yours And Owls.

LIVE AT THE QUAY

The Tillegra Damned, Dylan’s Eye and the BMXicans take the stage from 9pm at the Paragon Hotel, Circular Quay this Saturday. The indie musicians are all singing for their supper and a chance to win the first prize of a paid residency at the Paragon in 2012, or second prize of recording and mastering time at Damien Gerard Sound Studio.

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There’s also a dash of ‘60s girl group in the mix, with Bull admitting to Martha & The Vandellas as another inspiration. This is fair enough considering this year’s winners of the Best Funk Act gong at the 2011 WAMi Awards averred passion for the roots of rock, pop and soul. “Absolutely, because that’s just where the heart and soul of the music is and it’s so wonderful to draw from that era in making this music. That was what we all had in common; those old sounds, gotta love it. I guess from the mainstream, Aretha Franklin was always in the background of my life; Roberta Flack and Janis Joplin; but I never really took a great deal of interest in it until four years ago when Clint asked me along to a rehearsal. He just said, ‘Now, don’t sing like you did in that other band [Bull had been in a folk pop band]; just belt it, just scream, just draw inspiration, just bring it out from your guts,’ and I was like, ‘Okay.’ And now I forever have a husky voice,” she laughs. “He’s ruined me!” WHO Boom! Bap! Pow! WHAT Furniture/Never Mean Nothing (Independent) WHEN & WHERE Thursday, Kings Cross Hotel

BAD GIRLS

The Peabody dudes are launching a brand new track, All The Bad Girls, this week and are stopping by Blackwire Records this Saturday to celebrate. They’ll be in with Machine Machine.

BEDROCK

“I’m no Fred Flintstone but I sure can make your bedrock.” Haven’t heard that one? No? Here’s a type of bedROCK that isn’t cringeworthy. The Sando this Thursday will be raising funds for the Sydney Homeless Connect with performances by The Maladies, Hailer, Jack Carty and Hilsden featuring The Pullaparts, as well as late but very special additions Abby Dobson (Leonardo’s Bride and a generally swoonworthy singer/songwriter in her own right) and Peter O’Doherty (Dog Trumpet/ex-Mental As Anything). Doors open at 7pm and there’s a silent art auction too. THE DRUM MEDIA • 63


LET MUSIC & BODIES UNITE

HEAVEN NEEDN’T HELP THEM

Rat Vs Possum are uniting music and bodies this week with the release of their second album. They’ll be traipsing up and down the coast this week, stopping at FBi Social on Friday with FLRL, Fishing, Richard In Your Mind DJs, DJ Simo Soo and more.

How do you think your music will suit a church/cathedral setting?

Seeker Lover Keeper, comprising of Sally Seltmann, Sarah Blasko and Holly Throsby, burst onto the Australian musical landscape with their self-titled debut in June of this year. Before returning focus to their equally impressive individual solo output they are doing one final tour together, the Heavenly Sounds tours, which sees them playing churches and cathedrals around the country. Drum lined up Holly Throsby for a few questions ahead of their shows at St Stephen’s Unit Church, Sydney, Tuesday and Thursday; Christ Church Cathedral, Newcastle, Wednesday and St Paul’s Anglican Church, Canberra, Friday. Seeker Lover Keeper: which of the three do you think is the holiest? Probably not me.

ROCK CHRISTMAS The Christmas edition of the Sydney Rock’n’Roll & Alternative Market is upon us this Sunday and it is going to be a cheerful, rockin’ blast. Hell City Glamours, Ezra Lee & The Steel City Band, Chucks Wagon, Chickenstones and more are all slated in to keep the entertainment flowing as you go from stall to fabulous stall.

FOOTSTOMPIN’ Gunslingin’ and chargin’ psychobilly blokes Blazin’ Entrails are barging into the Cabbage Tree Hotel this Friday and the Valve Bar on Saturday for a stick-up. They’ve just released their new EP, Los Barstos.

TOTALLY GAY

It’s been a big year for party manimals Gay Paris, Totally Unicorn and God God Dammit Dammit. Which is why they’re embarking on their Totally Gay Dammit summer tour, kicking off this week. They play Hamilton Station Hotel this Saturday without God God Dammit Dammit, but then it’s an all in after that.

A NIGHT FOR PEZ Sally Singleton is killing two birds with one stone this Wednesday, launching her single, Over Now, and raising money and awareness for the Perry Cross Spinal Research Foundation all on the one night! She’ll be joined by The Potbelleez DJs with doors opening at 6pm.

DOUBLE RAINBOW

Better than a double rainbow, it’s double launch time! Designer Pilot present a 7-track mini-album this Thursday at the Annandale at the same time that John Vella releases his DVD, Backbreaker: Live At The Annandale. If that wasn’t exciting enough, DreamDelay will be opening the night.

I think it will suit it really beautifully. Our album is so much about voice - singing, and making harmonies. When you sing in big, reverberant spaces like churches it is powerful and I think the songs will really come alive. I am not a religious person, but I have been to some services, like Al Green’s church in Memphis where they do a full gospel tabernacle. That was so amazing. Churches are kind of made for singing your heart out I think.

CANDY CANDY CANDY I CAN’T LET YOU GO

You’ve just pulled up at one of the churches to play and the priest asks you to confess a musical sin. Spit it out - what’s one of the most embarrassing things you’ve done or enjoyed music-wise?

JAPE AND KITT

If I had made a mix tape in Year 7 it would be in a time capsule for dorks of the future. The first track would’ve probably been that Sonia Dada song, followed by Memory from Cats.

LOOK OUT FOR BLUE BEAT

Button Down Disco at Candy’s Apartment this Friday night? Yes, indeed. Featuring Candy locals Kyro and Bomber, Pretty Young Things, Nightmare, Hoodlmz and some deck measuring between Chickflick and Main St. Also in the house are bands Little Napier, Stone Monks and The Grease Arrestor.

Jape are setting out on their first Aussie national tour this week! Supported by special guest David Kitt, they’ll be playing at The Lair at the Metro Theatre this Thursday.

HEARTBREAKERS

The FBI Social this Saturday will feature Harmony, currently on their Heartache tour. So far it’s been quite a year, with a 7” single, an AIR nomination and lots of buzz. Be there or be broken hearted.

There’s a new venue in Double Bay called Blue Beat with late night funk and R&B happening live Friday and Saturday night till late.

What is the most heavenly sound to you?

FOWL PLAY

Rain, big waves, harpsichord.

RECKLESS

Kill City Creeps have a November residency with Upstairs Beresford that is finally winding down, but not without one last awesome Saturday night. This week they play with Reckless Vagina from 9pm.

TURN AROUND BRIGHT EYES

Songstress Fanny Lumsden is launching her single, Hello Bright Eyes, at the Hunky Dory Social Club this week with a free gig from 7pm. She’s requested Leroy Lee and Emma Swift to support her too.

MONKEY TROUBLE

They’re only sweet 16 but are already turning heads. The Sweet Apes are stopping by Metro Theatre’s The Lair this Sunday with their single, Police Cops, in hand and an impending debut EP release too.

UP THE NUMBERS

Trio Numbers Radio reckon they do punk rock a little differently. Having just released the single, White Light, they’re on tour this month along the east coast. They stop by the Burdekin Hotel on Friday and the Great Northern on Saturday for an acoustic set.

FEEL A THING

London-born but Sydney-based, Emma Davis will be releasing her new video clip for Feel A Thing this Friday at Hibernian House. She’ll be launching the single at the same time and will celebrate with an intimate gig.

Danceable and party ready, Guineafowl continue on their The Lie Is tour this week. They stop by The Standard on Friday and then head to Yours & Owls on Saturday. They’ll be playing with special guests so stay tuned!

NO SLEEP TO SANDO

This Wednesday go forth and catch the fourth instalment of the trilogy No Sleep Till Sando with The Hard-Ons, Chinese Burns Unit (feat Jay from Frenzal) and Smitty & B Goode. This is also your last chance to win a sensational (secret) lucky door prize. Sleep on the weekend, suckers.

PETER NORTHCOTE

Local axeman Peter Northcote is doing the rounds again this week, playing with Barry Leef at The Basement on Friday night and at Drive with Brydon Stace at the Bridge Hotel, Rozelle, on Sunday afternoon.

This Wednesday Elefant Traks and The Red Room Company offer Respond/React, a celebration of a cappella rap and spoken word at The Red Room Company’s Clubhouse in The Rocks. Expect sounds from Omar Bin Musa, Urthboy, Solo (Horrorshow) and Ozi Batla, from 7pm.

HIGHROAD HEAD OFF

Highroad No 28 play one more time in Sydney for 2011 before heading to Melbourne for the end of the year. Catch them Thursday at The Valve Bar in Tempe, alongside Helpful Kitchen Gods, Call to Colour, Islands and The Good Waste.

BATTLE ROYALE

As hardcore kings House Vs Hurricane round up their gigs for the year, they’ve just announced that their singer won’t be joining them in recording their second full-length album. They’ll play one of their last gigs with Chris at Nowhere this Saturday night at Spectrum with supports The Bride.

EAST WEST FEST

East West DeathGrind Fest 3, ahoy! The metal fest will be held at the Sando this Saturday and with a killer lineup, you have no reason not to head down. Daemon Foetal Harvest, The Day Everything Became Nothing, Mother Eel, Hell Itself and heaps more are all slated in to play.

MOTION CONTROL

Pop punk dudes The Mission In Motion have just begun to charge out on their Control tour with Sydney mates, Strangers. The guys will be stopping by Spectrum on Friday as well as The Lair at the Metro Theatre on Sunday.

40 YEARS WITHOUT JIM

Can you believe it’s been four decades since we lost Jim Morrison? Well, friends, sadly it is. To celebrate his life, music and poetry this Friday at the Sando gather for No One Gets Out Alive, a Doors tribute featuring Jeff Duff, Damien Lovelock and Sam Joole on vocals, as well as a killer live band. 64 • THE DRUM MEDIA

HEARTBREAKERS The FBI Social this Saturday features Harmony on their Heartache tour. So far it’s been quite a year, with a 7-incher (single, that is, you dirty birds), an AIR nomination and lots of buzz.

LILY ROCKIN, YEAH LILY ROCKIN’ NEW CHRISTS ARE RESURRECTED The New Christs, who have been hiding in the wilderness, return to The Square in Hay Street, Haymarket Saturday. Familia will be joining them (as family often do!), and opening up proceedings, all the way from Melbourne, is Wolfpack.

BEAKY Bird’s Robe present Serious Beak’s album launch at the Lansdowne this Saturday free.

JUST LOVE

The Waysmiths are ready and set to launch their album, Your Home Town, at the Lansdowne this Friday, obviously in their home town.

STICKER THE FAMILY

This Saturday catch Adelaide five piece Messrs (formally The Touch) Upstairs at The Beresford. The band debuted at Parklike in the city of churches this year and they’ll be launching their new single, Everyone Knows, on the night for an Emerald City crowd.

Boogie blues rockers The Drey Rollan Band return to Rock Lily at Star City this Thursday.

CHAIN REACTION

WAYWARD SON

DIRECT FROM RADELAIDE

Episode two of It’s a Family Affair happens this Sunday at the Petersham Bowling Club. Starting with the Sticker Club at 2.30pm, it’s $5 with free entry for kids, and bands play until 8.30pm. Among those playing the tunes are Nic Dalton and his Gloomchasers, The Exiles, Adele & Glenn, Community Radio and Luke Russell and the Proposition. As the presser promises, “Bring the family! Get drunk on the lawn with your kids jumping all over you.”

HE’S GONE BY A FEW NAMES, PLAYED EVERYTHING FROM POP TO HARD ROCK, BUT IT’S AS A COUNTRY BLUES-SOAKED JD LOVE THAT HE’S INTRODUCING HIMSELF TO THE NEW DECADE, AS MICHAEL SMITH LEARNS. The rock historians out there might recall a band from the late ‘70s named The Ferrets, who had a #2 hit with a single titled Don’t Fall In Love. The guitarist in the band was Dave Springfield, who also called himself David Schofield and had also been in the last lineup of Angry Anderson’s first band, Buster Brown. After The Ferrets and a couple of other bands came a decade of obscurity as he headed off into western NSW exploring country music and raising a daughter. The noughties found him once more a guitar for hire, doing sessions for the likes of 50 Million Beers and JFK & The Cuban Crisis, with whom he found himself in Melbourne for a weekend and he finally hauled himself into a studio and recorded, over two days, an album of his own songs, which he titled Two Days, renaming himself JD Love.

themusic.com.au

“Well, they’re true stories,” he explains of the inspiration for Two Days. “I think they’re like the archetypes that come from mythology. It’s the same thing that drives everybody and it’s like psychoanalysis when you look back at the titles and say, ‘Whoa, did I write all that stuff about leaving places?’ you know? So it’s about trying to get where we wanna get and deal with what we have to deal with, little snapshots of those sorts of situations as they arrived to me and probably make some kinda sense to other people.” The genesis of this album of what he describes loosely as “cosmic Australian country blues” was equally organic. “I’d sold a car, so I had some money and I had in the back of my mind I wanted to record with my daughter, [singer/songwriter] Georgia [Fields], because we’d been doin’ that since she was a kid and now she’s got her own career, so I thought I should do it now before it gets too late. I wanted to record to tape and she suggested Atlantis [Sound recording studio] because she’d used it and the engineer there’s an old guy and he knew tape and we recorded it together with no headphones, no baffles and he mixed it live.” WHO JD Love WHAT Two Days (Only Blues) WHEN & WHERE Wednesday 30 November, Rose Of Australia


THE DRUM MEDIA • 65


MULLUM MUSIC FEST

Pack the car and get to the Mullum Music Fest this week in Mullumbimby, 15 minutes from Byron Bay in Northern NSW. Over four days there is a huge lineup performing, including Lanie Lane, Husky, The Dynamites (US), The Bamboos, Little Bushman (NZ), Tim Freedman, The Congos (Jamaica) and many more.

KATALYST LAUNCH

This Friday night catch Katalyst launching newbie, Deep Impressions, at the Beach Road Hotel. It’s the only public Sydney club show for the disc, so get on your boogie shoes and head towards the beach.

GETTING CRABBY

The Square is hosting garage punk rockers Hell Crab City this Friday. This week’s gig will be supported by Cool Charmers and The Heavies opening the evening’s proceedings, while next week the Hell Crabbers play the Sando Sunday 4 December with a more mellow set and supports, including ex-Limespiders outfit Cousin Betty and Al Creed from Hell Crab City opening with a solo acoustic set of late ‘70s punk, ‘80s swamp plus some original fare.

KILL YOUR STARS

ON FIRE

Red Fire Red are launching their live EP at The Gaelic this Saturday and would love you guys to join them. UK rockers The Lost Souls Club as well as The Bedlams, Fox Valley and Nova Soul will be joining them for a red-ical night.

Melbourne’s Star Assassin play Notes in Newtown this Saturday, sharing a stage with Shape, Crush Through, Pink Bullet and Middleton Road. The night will be a lower key version of their heavy rock bread and butter, but still worth the trip no doubt.

GET OUT YOUR GUNS

Saturday night at Candy’s has Big Guns leading the charge, as well as Sherlock Bones, Disco Volante, Zomg! Kittens, 2Busy2Kiss & Leanzy, Victims, Dirty Cutlery and more! From 9pm, be there, or be shot by the sheriff.

40 YEARS STICKY

This Wednesday at the Enmore Theatre celebrate the 40th anniversary of The Rolling Stones’ Sticky Fingers LP (remember them, the Stones? And LPs?). Put together by the same crowd who staged the recent Whole Lotta Love Zeppelin show, on the bill are Jack Jones, Simon Meli (The Widowbirds), Greg Agar (Syndicate), Evelyn Duprai, Zkye and Jason Walker, accompanied by a tenpiece band under the creative direction of Joseph Calderazzo.

ICECREAM SPIDER POWERED BY

Funnel Web will be up at the Northern Star Hotel playing two sets this Saturday night for free. If you can’t be bothered getting up off your couch, you can watch the band’s jam sesh via the Live Studio Cam on www.tommirock.com on Thursday at 7.30pm too.

READY STEADY ROCK

Get away from the bustle of the city by heading for the hills this weekend for Ready Steady Go! The ‘60s Weekender will feature two nights of vintage sights and bands like The Escapes, The Fabergettes, The Elephant Gods and The King Hits at the Hotel Gearin.

POWERED BY STREET PRESS AUSTRALIA STREAMING THIS WEEK

STREAMING EAMIN NG G THIS S WEEK K

BUSH’S THE SEA OF MEMORIES

INFLUENTIAL UK ROCK BAND’S FIRST ALBUM IN TEN YEARS.

OUT NOVEMBER 25 ON SHOCK.

• KEEP ON TOP OF THE EVER-CHANGING FESTIVAL LANDSCAPE • • RAMMED WITH INTERVIEWS AND PROFILES OF FESTIVAL ARTISTS • • TRACK ALL THE SIDESHOWS • • PLAN YOUR FESTIVAL TIMETABLE • P • REMINDING YOU TO WEAR SENSIBLE SHOES •

Hardcore band Endless Heights stop by Hermann’s Bar this Friday for their Dream Strong EP launch. The 18+ show will also have Iron Mind, Sex Wizard, Warbrain, Civil War and Legions play.

HEAVENLY SOUNDS

GUIDE

NOW AT THEMUSIC.COM.AU THEMUSIC.COM.AU

ENDLESS

SNAKADAKTAL’S DEBUT EP

UNEARTHED DARLINGS AND VCE TEENS UNLEASH THEIR HIGHLY ANTICIPATED COLLECTION OF ENTRANCING INDIE POP. EAT IT UP.

OUT NOVEMBER 25 ON I OH YOU.

The Heavenly Sounds tour featuring Seeker Lover Keeper is returning to the east coast this week, where it’ll help raise money for the Salvo’s Christmas appeal. Tonight, the tour stops by St Stephen’s Uniting Church, on Wednesday they play at Christ Church Cathedral in Newcastle, on Thursday the St Stephen’s Uniting Church again and finally on Friday, the St Paul’s Anglican Church in Canberra. Henry Wagons will support all shows except Thursday, where Laura Jean will be playing instead.

STORMY WEATHER

The bluesey rootsy boogie boys Stormcellar perform a holy trinity of gigs this week, kicking off at the Kurnell Recreation Club from 8pm on Friday; then Saturday it’s the Baldrock Hotel in Rozelle. They rise again and round it off as the house band at the monthly Sydney Blues Society jam at the Botany View Hotel in Newtown from 6pm on Sunday.

THE NEW TIKI BAR

Indie popsters Convaire are keen to release their new EP, The New You, and the cool kids have signed up for DJ sets every Thursday night for the rest of the year at Kongs Jungle Lounge. The tiki bar has free entry and a free lei too.

NOW AT THEMUSIC.COM.AU

LAST WEEK YOUR DAILY SPA WAS FIRST WITH: • AMY MEREDITH’S DRAMATIC EXIT FROM SONY • THE SPLIT AND SALE OF EMI • DECONSTRUCTING THE ‘LOST’ ARIA FOOTAGE

SUBSCRIBE NOW AT THEMUSIC.COM.AU TO GET ALL THE LATEST DIRECTLY TO YOUR INBOX

• AN ONLINE HUB FOR THE ANNUAL AUSTRALIAN MUSIC PRIZE • • THE OFFICIAL ENTRY POINT FOR ARTISTS • • TRACK THIS YEAR’S PARTICIPATING ALBUMS • • UPDATED AMP NEWS • • ARCHIVE OF PREVIOUS SHORTLISTS AND WINNERS •

EYES CLOSED

Nikki Thorburn has been on her Eyes Closed tour since September but it’s finally winding up this week. On Saturday she launches her EP of the same name at the Great Northern Hotel.

ISLAND LIVING

Peter Hollow of FBi’s Utility Fog, a.k.a. as Raven, is curating a Postfolkrocktronica picnic this Saturday at Cockatoo Island. From 1-7pm for just a tenner (or fiver) ,it’s a celebration of “music to the left of eclectic”, featuring Option Command, Underlapper, Pimmon, Thomas William (formerly known as Cleptoclectics), AFXJIM, Ollie Brown and Raven. The first 25 attending the picnic at Warehouse 15 on the Upper Island will also get a free compilation CD. For details head to cockatoocalling.com.au

ZEN-DERFUL

THEMUSIC.COM.AU 66 • THE DRUM MEDIA

themusic.com.au

Karma Karma. Catch them as they skip into the Phoenix Bar Wednesday, the Backroom Thursday and the Townie Friday.

SOCIALLY AWESOME

FBi Social have another blasting week planned. Friday Other Places, Magic Silver White and Brackets are in the house, Saturday they have Harmony, Nikko, Model Citizen and Margins play (with DJs from midnight) and Sunday, it’s FBi’s Music Open Day with The Walking Who, Sealion, Taylor King and DJ Axton Frick.


THE DRUM MEDIA • 67


SINGLE FOCUS

DRIVING JIMMI CARR

This Saturday night Jimmi Carr plays the Katoomba RSL, supported by local community Brazilian Drummers King Parrot Bloco de Samba and mountains local Killin’ for Pennies. Carr is a singer songwriter with three albums down to date, and number four not far off.

HAVE YOU HEARD

DJ BOOTH

ART LADIES TAYLOR KING A DOLLAR DOWN WHAT’S THE SONG ABOUT? I hate to overthink things and to be perfectly honest I have no idea. At this point in time I’d have to say that it’s just a fun song about drinking too much. IS THIS TRACK FROM A FORTHCOMING/ EXISTING RELEASE? At the moment it’s just a single release. HOW LONG DID IT TAKE TO WRITE/RECORD? It all fell together very quickly and naturally. I practically wrote it as I was demoing it at home in about five minutes. We then recorded it in about two days at Freefall Studios. WAS ANYTHING IN PARTICULAR INSPIRING YOU DURING THE MAKING? I think just the fun that I’m having with music at the moment writing and playing live with my band. And to get a bit more in depth for a second, the terrible state of the current “scene”. WHAT’S YOUR FAVOURITE PART OF THE SONG? I’m really happy with it all but I think the main part that gets people in is the melody in the chorus. DO YOU PLAY IT DIFFERENTLY LIVE? We haven’t actually had the chance to rehearse it as a band, we went into the studio pretty blind in that sense but I doubt it will be too different.

Leading ladies Fiona Joy Hawkins and Trysette head to the Kendall School of Arts Hall this Sunday for a great jazz pairing.

JIMINY CRICKETS

Jim Finn is playing Muso’s Club Jam Night as per usual this week at the Bald Faced Stag on Wednesday and the Carousel Hotel on Thursday. He also heads to the National Press Club of Australia on Thursday to play free for their members. For the remainder of the week, he plays the Loco Hotel on Friday and the Home Tavern on Saturday and Sunday, all with Mick Campbell joining him.

FRIDAY ON MY MIND

Falcona on Foveaux St is again hosting Falcona Fridays, featuring Devola, Kristy Lee, Starjumps, Isbjorn, Stoney Roads and Kit & Kaboodle. From 8pm for $10, combining for some indie/electro/dance/rock lovin’.

Joe Chindamo Trio, centred around the pianist and composer based in Melbourne, will be performing for SIMA at the Sound Lounge this Friday with John Morrison and Brendan Clarke.

COIN OP LAUNDRY

WILL YOU BE LAUNCHING IT? Sunday - FBi Social FOR MORE INFO SEE: www.TaylorKingMusic.com

HEAVEN AT THE ANNANDALE

WHAT ARE YOUR PLANS FOR THE IMMEDIATE FUTURE? Immediate future is release our debut EP, Time & Space, at the Annandale and put on a killer show, both visually and sonically. WHAT IS YOUR FAVOURITE SONG LYRIC AND WHY? The lyrics to Muse’s Take A Bow. I think it’s really poignant given the recent political realignments in Egypt, Libya, Italy, movements in Syria and the occupy movements in various nations. The lyric that really gets me is, “Burn in hell, yeah you’ll burn in hell for your sins.”

LIME JUICE

will be performing famous classic hits as well as some original material.

EX-CRYING MIND GUITARIST (WILL IVAN) WILL BE PERFORMING AT CC’S HOTEL QUEEN STREET CAMPBELLTOWN.

FRIDAY 25TH NOVEMEBER KICK OFF AT 8.30 PM Don’t miss this amazing show. Will Ivans Invasion will be in your town soon.

68 • THE DRUM MEDIA

If you’ve still got energy surging through your body after Stereosonic then Chinese Laundry is the place to be this Saturday night! USA’s Drop The Lime will be leading the night as head honcho, with Melbourne’s Kraymer joining him, along with Diskoriot, Che Jose, Chris Arnott, Matttt, Dirtty D, Nick Robins, Marky Mark and more.

FAVOURITE “PICK ME UP FOR A BIG NIGHT” DRINK? Whenever I have a Jäger Bomb I know it’s going to big night whether I want it or not.

BFFL

FAVOURITE HANGOVER CURE? A Bourke Street bakery pork and fennel sausage roll, two macchiatos and a Coke. Followed by a swim at the beach to wash the hangover away (weather permitting).

They’re bifflez. They’re Super Best Friends, and they’re launching their new EP, Handshake, soon. Meanwhile, they’re taking to a couple of east coast dates to release their single

STEVE’S 2011

WHAT DO YOU THINK IS YOUR ACT’S GREATEST STRENGTH? Our songwriting. We look at structure and chord progressions a little differently to keep our listeners on their toes and keep us interested in writing and playing the songs. I’d also say another strength is our rhythm section, particularly the drums, which are right out front and really technical and intricate. Almost like a measured chaos.

WHAT MOVIE DO YOU THINK YOUR MUSIC WOULD BEST ACCOMPANY AND WHY? Tough question... I think because our music is currently about self-discovery or self-realisation, as well as being quite dynamic and varied in intensity and feel. I’d say any movie about discovery or self realisation, like Spider Man.

Also heading up from Melbourne this weekend are Heaven The Axe, taking the trip so as to take the stage at The Annandale on Friday night. Launching their debut record, Sex, Chugs and Rock ‘n’ Roll, they’re joined by Devine Electric, Vanity Riots and Arteries.

WILL IVAN’S INVASION

ADRIAN SHEATHER, LEAD VOCALS AND KEYS

IF YOU COULD TIME TRAVEL BACK TO ANY GIG IN HISTORY WHICH WOULD IT BE AND WHY? Any of the Led Zepplin shows or when Nirvana played at Selina’s in Coogee in the early ‘90s. I have a friend who was at that show, not knowing who Nirvana were at the time, and I get really jealous when ever I hear that story.

JOE, JOHN AND BRENDAN

Chinese Laundry are getting explosive this Friday night! They’ve got Wafa, Doctor Werewolf, Blaze Tripp, Day Trip, Linken & Vertigo and Seltay all partying from 10pm ‘til laaaate this Friday night.

DESIGNER PILOT

The Steve Edmonds Band hit up the Beach Club this Friday night, as well as Dicey Riley’s on Saturday and Wickham Park Hotel on Sunday. These are their last gigs until it’s time to welcome in 2012

FOR MORE INFO SEE: www.designerpilot.com WHEN AND WHERE ARE YOUR NEXT GIGS? Thursday - The Annandale

themusic.com.au

DJ SIERA LEE WHEN DID YOU KNOW DJING WAS THE GIG FOR YOU? Three words for you, “I love music”. Music is my life, music is my best friend, my lover, my everything. One night I was at a uni party and people were complaining about music. And something hit my head, ‘This is it!’ Next day I’ve got all the DJ equipment and start practicing every day. I love DJing, I feel like I was born to be a DJ every time when I’m on the stage. To think that those people could’ve had a hard week or a hard time at home, but then they come out and enjoy your music - it’s the best feeling. WHAT’S YOUR MOST MEMORABLE MUSICAL MOMENT? Probably when I performed at the Vogue Fashion’s Night Out Sydney 2011 for Diane Von Furstenberg (DVF). You know, it’s always good to see how music and fashion go hand in hand. I extremely enjoyed the moment when I was spinning at the shop window next to fabulous clothes and shoes. Doesn’t matter who you are - a kid or an adult, woman or man – or where you are from, everyone was singing and dancing (and shopping of course) with the songs that I was playing. Like I said, it is the best feeling. WHAT RELEASE SHOULD EVERYONE HAVE IN THEIR COLLECTION? Party Up by Israel Cruz. I am so in love with the song at the moment, currently both my ringtone and alarm tone. “If you came here to party... Then clap your hands!” WHAT CAN PUNTERS EXPECT TO HEAR WHEN YOU’RE IN CONTROL OF THE DANCEFLOOR? Party Rock Anthem by LMFAO. One of the best songs in club history ever. DJ Got Us Fallin’ In Love by Usher, because you will. WHEN ARE YOUR NEXT GIGS? Friday - Home Nightclub Friday 2 December - Home Nightclub Saturday 3 December - World Square Bar


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TUE 22 ADAM PRINGLE + FRIENDS: Sandringham Hotel, street level AMBRAS THINGOS, EL DUO FLAMENCO: Town & Country, St Peters ANDY MAMMERS DUO: Maloneys Hotel - Sydney AT THE HOP: Campbelltown RSL BANDITS: Ramsgate RSL DONNY EDWARDS: Brass Monkey - Cronulla EUSH: The Vanguard - Newtown GEMMA: Observer Htl HUE WILLIAMS: Jack’s Bar & Grill - Erina IAN BLAKENEY: Dee Why RSL JAMIE LINDSAY: Northies Cronulla Htl JAZZGROOVE feat. THE MUGZ, THE VAMPIRES: 505, 280 Cleveland St Surry Hills JOHN HAMMOND JR: The Basement - Circular Quay KIRK BURGESS DUO: Opera Bar - Circular Quay MATT TOMS: Coogee Bay Hotel - Beach Bar OMG!: Scruffy Murphy’s - City PETER HEAD: Harbour View Hotel - The Rocks PLAY FOR A PINT, SING FOR YOUR SUPPER: Great Northern Hotel - Newcastle SEEKER LOVER KEEPER: St Stephens Church, Newtown SONGS ON STAGE feat. MARK WILKES, RICHARD MURPHY, RUSSELL NEAL + GUESTS: Kogarah Hotel STEPPIN’ OUT: Dooley’s, Lidcombe THE FLAMING STARS: Rockdale RSL TRACEY ADAMS DUO: Petersham RSL ZOLTAN: Mean Fiddler Hotel - Rouse Hill

WED 23 A NIGHT FOR PEZ: The Standard - Surry Hills AARON WELSH: Artichoke Café Manly BENTON & STORM: Orient Hotel - The Rocks BOY MEETS GIRL: Campbelltown RSL DAN SPILLANE: Coogee Bay Hotel - Beach Bar DEBBIE: Sandringham Hotel, street level

70 • THE DRUM MEDIA

DISHONOURED, THE LAST LIGHT, BECAUSE OF TOMORROW, ALICE VS EVERYTHING: Valve Bar - Tempe FANNY LUMSDEN, LEROY LEE, EMMA SWIFT: Hunky Dory Social Club HARD-ONS, CHINESE BURN UNIT, SMITTY & B.GOODE: Sandringham Htl - Upstairs JAMES PARRINO: Dee Why RSL JOHN HAMMOND JR: The Basement - Circular Quay KRISTY LEE: Dooley’s, Lidcombe LIVE & LOCAL: JACOB EMERSON, KAREN ANNE, HAYLEY KADE, BABY SNAKES: Lizottes, Kincumber MADDY HAY, LUKE HOWARD: Camelot Lounge - Marrickville MUSO JAM NIGHT: Bald Faced Stag - Leichhardt NORTHLANE, IN HEARTS WAKE: Cambridge Hotel - Newcastle PARTY VIBE: 3 Wise Monkeys Pub - City PETER HEAD: Harbour View Hotel - The Rocks PNAU: St Stephens Church, Newtown ROB DEVLIN: Ramsgate RSL RON ASHTON: Kogarah RSL Club RUBEN BRADLEY: 505, 280 Cleveland St Surry Hills SEEKER LOVER KEEPER, LAURA JEAN: Christ Church Cathedral Newcastle SONGS ON STAGE feat. WARREN MUNCE, PETER YANNAKIS, MATT MCGOWEN, RUSSELL NEAL, + GUESTS: Cat & Fiddle Hotel - Balmain SONGS ON STAGE feat. TAOS, GAVIN FITZGERALD, SENANI, DAVID SHEPARD, + GUESTS: Coach & Horses Hotel, Randwick SONGS ON STAGE feat. DAVID WHITE, DAN CRESTANI, GREG SITA: Cookies Lounge and Bar - North Strathfield SONGS ON STAGE feat. DANIEL HOPKINS, + GUESTS: Taren Point Hotel - Taren Point

STICKY FINGERS ROLLING STONES SHOW, JACK JONES, SIMON MELI, GREG AGAR, ZKYE, EVELYN DUPRAI: Enmore Theatre THE ANGELS: The Juniors - Auditorium THE WALKING WHO, RADIO NATIONAL, YARDVARK: Rock Lily, Star City - Pyrmont THIRD WATCH: Scruffy Murphy’s - City TOM LOUD, JACK SHIT: FBI SOCIAL presents

THU 24 ALTITUDE: Scruffy Murphy’s - City ANDY MAMMERS: Northies Cronulla Htl- Sport Bar ANITA WARDELL: 505, 280 Cleveland St Surry Hills ANTHEMS OF OZ: Orient Hotel - The Rocks CAMBO: Observer Htl CHALKIE WHITE: Windang Bowling Club DAVE WHITE DUO: Maloneys Hotel - Sydney DAVID SATTOUT: Artichoke Café Manly DESIGNER PILOT, JOHN VELLA, DREAM DELAY: Annandale Hotel - Annandale DREY ROLLAN BAND, HOLLYWOOD HOMBRES: Rock Lily, Star City - Pyrmont EMPERORS, MUSHU, RANGER SPACEY: Lansdowne Htl GLENN WHITEHALL: Sackville Hotel - Rozelle HELPFUL KITCHEN GODS, HIGHROAD NO 28, ISLANDS, THE GOOD WASTE, CALL TO COLOUR: Valve Bar - Tempe HOT DAMN!, SHORT STACK, WAKE THE GIANTS, THE STRICKLANDS, THE ATLANTIS: Spectrum - Darlinghurst JAPE, DAVID KITT: The Lair @ The Metro John Hill: Monkey Bar Balmain JP: Toxteth Hotel - Glebe KIRA PURU & THE BRUISE, BOOM! BAP! POW!: FBI SOCIAL presents LIONEL ROBINSON: Dee Why RSL MARTY from RECKLESS: Marlborough Hotel - Newtown

MATT CORBY, TIGERTOWN: Oxford Art Factory MICHAEL MCGLYNN: Greengate Hotel - Killara MICHAEL PETER: Coogee Bay Hotel - Beach Bar MUSO JAM NIGHT: Home Tavern Htl, Wagga Wagga MYLEE GRACE: Moonshine Cider & Rum Bar NICKY KURTA: Dee Why Hotel OPEN MIC NIGHT: Excelsior Hotel - Glebe Paki & Kelly & Marsh: Illawarra Yacht Club - Warrawong PETE: Gymea Bay Hotel PETER HEAD: Harbour View Hotel - The Rocks RAI THISTLETHWAYTE, STONE PARADE: Lizottes, Dee Why RICKY LYNCH: Lakes Hotel - The Entrance SALT-N-PEPA: Enmore Theatre SCOTT DONALDSON: Campbelltown Catholic Club SEEKER LOVER KEEPER, HENRY WAGONS: St Stephens Church, Newtown SINGLED OUT: 3 Wise Monkeys Pub - City SONGS ON STAGE feat. MATTHEW FLOOD, RUSSELL NEAL, + GUESTS: Red Lion Hotel - Rozelle SONGWRITERS & OPEN MIC NIGHT: DAN CRESTANI, HELMUT UHLMANN, + GUESTS: Mars Hill Café - Parramatta SOUTHERLY CHANGE: Dicey Riley’s Hotel - Wollongong SPEAKEASY: Bald Faced Stag - Leichhardt SPENCERAY: Stacks Taverna - Darling Harbour STEVE TONGE: Harbord Beach Hotel - Harbord STRANGER COLE, KING TIDE: Brass Monkey - Cronulla THE DEER REPUBLIC: Oxford Art Factory - Gallery THE HOTTENTOTTS, CARL CLEVES, PARISSA BOUAS, VOICES FROM THE VACANT LOT: Camelot Lounge - Marrickville THE LIVING CHAIR: Bull & Bush - Baulkham Hills THE MALADIES, HAILER, HILSDEN, THE PULLAPARTS, THE RAIDS, KARL BROADIE, ALICE TERRY, PETER O’DOHERTY,

ABBY DOBSON: Sandringham Htl THE STRIDES: Shore Club Manly THE SUBTERRANEANS: The Basement Circular Quay TOM TRELAWNY: O’Malleys Kings X TONY WILLIAMS: Pioneer Tavern - Penrith XZIBIT: Fannys Newcastle

FRI 25 031 ROCK SHOW: Scruffy Murphy’s - City AFTER PARTY BAND: Rooty Hill RSL ALMOST FAMOUS: Mounties, Terrace Bar - Mt Pritchard AM 2 PM: Coogee Legions ANDY MAMMERS DUO, WILDCATZ: Crows Nest Htl ARMCHAIR TRAVELLERS DUO: 3 Swallows Hotel - Bankstown BACK ON THE BLOCKQUINCY JONES TRIBUTE feat.: Blue Beat - Double Bay BARRY LEEF, PETER NORTHCOTE: The Basement - Circular Quay BENN GUNN: Collaroy Beach Hotel BENN GUNN: Collaroy Services CAMBO: PJ Gallaghers Drummoyne CEARA FOX: East Hills Htl, East Hills CHART BUSTERS: Marlborough Hotel - Newtown CRAIG THOMMO: Royal Oak Htl Parramatta DIRTY DEEDS - AC/DC SHOW: Heathcote Hotel DJ MATT, SCOTTY SAX: Bankstown Sports Club DJ TONE: Oatley Hotel DRAGON: Brass Monkey - Cronulla EBONY & IVORY: Crown Hotel - Sydney ELEVATION-U2 SHOW: Engadine Tavern EMPERORS, THE FLAT WHITE CATS: Yours and Owls Café, Wollongong ENDLESS HEIGHTS, IRON MIND, SEX WIZARD, WARBRAIN, CIVIL WAR, LEGIONS: Hermanns Bar Darlington ENDLESS SUMMER BEACH PARTY: Bull & Bush - Baulkham Hills

themusic.com.au

FALCONA FRIDAYS, DEVOLA, KRISTY LEE, STARJUMPS, ISBJORN, STONEY ROADS: Kit & Kaboodle - Kings Cross FALLON BROTHERS: Macquarie Htl, Liverpool GEOFF RANA, BEN FINN, DAVID AGIUS DUO: Castle Hill RSL GRAND PLAN, OLD TIME GLORY, THE CRUEL KIND: Excelsior Hotel - Glebe GTS: Club Rivers - Riverwood GUINEAFOWL, FIRE! SANTA ROSA, FIRE!, GLASS TOWERS: The Standard (Kinselas) - Darlinghurst HARLEQUIN: Hillside Hotel - Castle Hill HEATH BURDELL: Northies Cronulla Htl- Sport Bar HEAVEN THE AXE, DEVINE ELECTRIC, VANITY RIOTS: Annandale Hotel - Annandale HELL CRAB CITY, THE COOL CHARMERS, THE HEAVIES: The Square, Hay Street Haymarket HELLO CLEVELAND: Pioneer Tavern - Penrith HELM, BREAKING ORBIT, MY SECRET CIRCUS, BEGGARS ORCHESTRA, ADRIFT FOR DAYS: The Gaelic - Surry Hills I’M WITH STUPID: Harbord Beach Hotel - Harbord INTIMATE LOUNGE MUSIC: Fairfield RSL, Supper Club JESS DUNBAR: Grand Hotel - Rockdale JJ DUO: Western Suburbs Leagues Club JOE CHINDAMO TRIO: SIMA JONATHAN JONES: Orient Hotel - The Rocks JOSH MCIVOR: Red Cow Inn Penrith KEEP THE FAITH BON JOVI SHOW: Belconnen Leagues KILLER feat. NO LONGER I, FINAL LIES, ROAD TO RANDSOME, AFRAID OF HEIGHTS: St James Hotel - Sydney KRISHNA JONES: The Belvedere Hotel - Sydney LAST STAND: Penrith Hotel - Penrith LAWRENCE BAKER: Stacks Taverna Darling Harbour

LITTLE LIESFLEETWOOD MAC SHOW, MARK BROUGHTON: Engadine RSL LUKE DIXON DUO: Mean Fiddler Hotel - Rouse Hill LUKE ROBINSON: Parramatta RSL MACSON DUO: Southern Cross Htl MANDI JARRY TRIO: Woolloomooloo Bay Htl MATT JONES: Novotel Brewery Bar, Olympic Park MATT TOMS: Oasis on Beamish Hotel - Campsie MEMORY LOSS: Pitt Town District Sports Club MENTAL AS ANYTHING: Coogee Diggers MICHAEL PETER: Bankstown Htl MICKEY PYE: Albion Hotel-Parramatta MI-SEX: Dapto Leagues MURPHY’S LAW: Penrith Gaels - Kingswood NEILL BOURKE: O’Malleys Kings X NICKELBACK SHOW: Wentworthville Leagues NICKY KURTA TRIO: Kro Bar, East Leagues Club, Bondi Junction NINTH CHAPTER: 505, 280 Cleveland St Surry Hills NUMBERS RADIO: Burdekin Htl Darlinghurst ONE WORLD: Matraville Hotel - Matraville OTHER PLACES, MAGIC SILVER WHITE, BRACKETS: FBI SOCIAL presents PANORAMA DUO: Coogee Bay Hotel - Beach Bar PETER HEAD: Harbour View Hotel - The Rocks PLEASURE & PAIN THE DIVINYLS SHOW: Illawarra Yacht Club POP FICTION: PJ’s Irish Pub Parramatta RAI THISTLETHWAYTE, JACOB PEARSON: Lizottes, Kincumber RAPTURE: Parramatta Leagues - Firehouse RAY BEADLE: Clarendon Guest House - Katoomba REPLIKA ROCK TRIO: Vineyard Hotel - Vineyard ROB HENRY, CARL FIDLER: Observer Htl ROY ORBISON REBORN: North Sydney Leagues, Cammeray RYAN ENRIGHT: Rydges Parramatta SALT-N-PEPA: Enmore Theatre SAM & JAMIE TRIO: Kirribilli Hotel - Kirribilli

SARAH MCLEOD, KATE MONROE, NAT NOIZE: Ruby Rabbit Darlinghurst SEX IN MEXICO, THE WAYSMITHS, CHRIS DOYLE, MONSTER GALE: Lansdowne Hotel - Broadway SKYSCRAPER: Customs House Sydney SONGS ON STAGE feat. GARAGE DAZE, RUSSELL NEAL + GUESTS: Everglades Country Club Woy Woy SOUTHDOWN, TAYLOR KING, TRIBAL, CHASING LIGHT, BEN CUDDY: Valve Bar - Tempe STICKY FINGERS, SALOONS, BEC AND BEN, DJ SPENDA C: Upstairs Beresford - Beresford Hotel STORMCELLAR: Kurnell Rec Club STRANGE TALK, ZOWIE: Oxford Art Factory STRANGER COLE: Notes Live - Enmore SUPER BEST FRIENDS: Town Hall Hotel - Newtown SUVI: Quakers Inn - Quakers Hill TALISMAN: Kingswood Sports Club THE GETAWAY PLAN, BREAK EVEN, GATHERER, HANDS LIKE HOUSES: Metro Theatre THE KHANZ, FUSCIA, CONICS: Oxford Art Factory - Gallery THE LOVE HANDLES: Kauri Foreshore Htl Glebe THE MISSION IN MOTION, Strangers: Spectrum - Darlinghurst THE VEIL, FUTILITY, MYRAETH, KATABASIS: The Wall (The Bald Faced Stag) TIM PRINGLE DUO: Kincumber Hotel Kincumber, Central Coast TOM T TRIO: Commercial Htl Parramatta TONE RANGERS, JOHN VELLA: Chatswood RSL TONGUE AND GROOVE: 3 Wise Monkeys Pub - City TRIBUTE TO THE DOORS: Sandringham Htl ZAC SLATER: Mill Hill Hotel - Bondi Junction


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SAT 26 2 DAYS HITS: Bull & Bush - Baulkham Hills AFTER PARTY BAND: Marlborough Hotel - Newtown ALAN SOLOMON JAZZ: Penrith RSL, Castle Lounge AM 2 PM: Malabar RSL ANTOINE DEMAREST, JESS DUNBAR, MATT PRICE: Northies Cronulla Htl- Sport Bar ARMCHAIR TRAVELLERS DUO: Stacks Taverna Darling Harbour BACK ON THE BLOCKQUINCY JONES TRIBUTE feat...: Blue Beat - Double Bay BACK TO THE 80’S: Oatley Hotel BIG WAY OUT: Picton Hotel - Picton BLACK STAR: Kincumber Hotel - Kincumber, Central Coast BLUES BROS DOWN UNDER, DONNY EDWARDS: Mounties Club Mt Pritchard BRAZIL MEETS CUBA: The Basement - Circular Quay CEARA FOX: Engadine Tavern CHART BUSTERS: Penrith RSL CHASING KARMA: Campbelltown Catholic Club CHRISTMAS SALSA PALLADIUM: The Factory Theatre COLIN MOORE, NUMBERS RADIO: Great Northern Hotel - Newcastle COUGAR DUO: Bidwell Hotel COVER NOTES DUO: Riverwood Inn CRAIG THOMMO: Club Central - Menai DAVE MASON COX: Orient Hotel - The Rocks DAVE STEVENS, STEVE TONGE: Observer Htl DAVE WHITE EXPERIENCE: Crows Nest Htl DAVID AGIUS: Castle Hill RSL DAVID AGIUS DUO: Sydney Rowers Club Abbotsford DEEP DUO: Brewhouse, Marrayong DES GIBSON: Lansvale Hotel - Lansvale DIRTY DEEDS - AC/DC SHOW: Tall Timbers Hotel - Ourimbah, Central Coast DJ JAY: Gymea Bay Hotel

72 • THE DRUM MEDIA

DOUBLE BARREL: Jannali Inn EAST WEST DEATHGRIND FEST, DAEMON FOETAL HARVEST, THE DAY EVERYTHING BECAME NOTHING, MOTHER EEL, HELL ITSELF, TORTURED, FESTERING DRIPPAGE, GRANNY FIST + more: Sandringham Htl ELEVATION-U2 SHOW: South Hurstville RSL ELPHICK’S LAST STAND: SIMA ELTON JOHN: Lyric Theatre, Star City FAST TRACK ZODIAC: Teagardens Htl FIONA LEIGHJONES: Harbord Beach Hotel - Harbord GTS: Parramatta RSL GUINEAFOWL, FIRE! SANTA ROSA, FIRE!, THE WALKING WHO: Yours and Owls Café, Wollongong HARMONY, NIKKO, MODEL CITIZEN, MARGINS, BAD EZZY, DISCOPUNX, Frames: FBI SOCIAL presents HEATH BURDELL: Clovelly Hotel - Clovelly HIT MACHINE: Illawarra Leagues HITSEEKERS: Scruffy Murphy’s - City HOORAY FOR EVERYTHING: Ingleburn RSL HOUSE VS HURRICANE, THE BRIDE, MISSOURI BREAKS, DANGEROUS!: Spectrum - Darlinghurst IGNITION: Panthers TC’s JACKS IN BLACK: Penrith Gaels - Kingswood JAZZ NOUVEAU: Fairfield RSL, Supper Club JESSE JAMES: Greengate Hotel - Killara JIMMI CARR, KING PARROT BLOCO DE SAMBA, KILLIN’ FOR PENNIES: Katoomba RSL JJ DUO: Courthouse Hotel - Taylor Square KATIE NOONAN, The Rescue Ships: Camelot Lounge - Marrickville KILL CITY CREEPS, COLLECTIVE SOUND SYSTEM, RECKLESS VAGINA, DJ MAGIC HAPPENS, MESSRS: Upstairs Beresford - Beresford Hotel KISS OFF: Brass Monkey - Cronulla

GIG OF THE WEEK

GUINEAFOWL

Bubbly electro/indie popsters Guineafowl have been hot property in Australia lately, charming crowds at Splendour In The Grass in July and releasing an EP, Hello Anxiety, to great acclaim from critics and fans alike – pretty impressive, especially considering it all started as frontman Sam Yeldham’s little solo bedroom project. After a quick jaunt around the US, the group is currently on home soil for The Lie Is tour, which hits The Standard on Friday and Yours & Owls Saturday.

LAWRENCE BAKER: Sir Joseph Banks Hotel - Botany MATT JONES, BEN FINN DUO: Ettamogah Hotel - Rouse Hill MATT JONES DUO: Panthers - Terrace Bar, Penrith MENTAL AS ANYTHING, ROSIE BURGESS TRIO: Lizottes, Kincumber MICHAEL MCGLYNN: Kirribilli Hotel - Kirribilli MICKEY PYE, SCOTT DONALDSON: Mean Fiddler Hotel - Rouse Hill MI-SEX: Rooty Hill RSL MUDDY FEET: The Belvedere Hotel - Sydney Nic Jeffries: 505, 280 Cleveland St Surry Hills NICKY KURTA: Bankstown Sports Club OUTLIER: Coogee Bay Hotel - Beach Bar PAUL SUN, MATT LAMB, CAMERON JONES: Organic Food Markets, Leichhardt PETE: Manly Warringah Leagues Club PETE HUNT: Kro Bar, East Leagues Club, Bondi Junction PHEBE STARR, BEARS WITH GUNS, FANNY LUMSDEN: Oxford Art Factory - Gallery POP FICTION: Canterbury Hurlstone Park RSL POSTFOLKROCK -TRONICA PICNIC: Cockatoo Island PUNK ROCK SHOW, TOPNOVIL, LIBERATION FRONT, ON EMPTY, ACID MONKEYS, BLAZIN’ ENTRAILS, THE SCAM, LOST CAUSE, HEADBUTT: Valve Bar - Tempe

RAPTURE: Pennant Hills Bowling Club REASONS 2B CHEERFUL: R.G. McGees - Richmond REBECCA JOHNSON BAND: Harrigans Irish Pub - Pokolbin RIP IT UP, GRIZZLY ADAMS: Ashfield RSL ROB HENRY: PJ Gallaghers Drummoyne ROLLING STONED: Blacktown RSL SFX feat. BENEATH THE CROWN, MARK MY WORDS, STRENGTH APPROACH, DECIEVER: St James Hotel - Sydney SHADY GLIMPSE, SORATHIAN DAWN, TROLDHAUGEN: Bald Faced Stag - Leichhardt SHIVON: Harbour Marriott - City SINGLED OUT: Wentworthville Leagues SKYSCRAPER: O’Malleys Kings X SONGS ON STAGE feat. SIMON MARRABLE, SAMANTHA JOHNSON, RUSSELL NEAL, + GUESTS: Picton Bowling Club SONGS ON STAGE feat. ARJIE MALBECK AND THE BANDALISTS, CAROLYN WOODORTH, + GUESTS: Terrey Hills Tavern - Terrey Hills SONGS ON STAGE feat. HELMUT UHLMANN, + GUESTS: Wentworth Htl Homebush SOUTHERN CROSS CLASSIC ROCK: Heritage Hotel - Bulli SOUTHLAND: Panania Hotel - Panania

STAR ASSASSIN, SHAPE, CRASH THROUGH, PINK BULLET, MIDDLETON ROAD: Notes Live - Enmore STONE COLD SOBER: Overlander Htl STORMCELLAR: Bald Rock Hotel - Rozelle SURPRISE PARTY: Seven Hills/Toongabbie RSL SYDNEY BLUES SOCIETY MEMPHIS FUNDRAISER: Empire Hotel - Annandale TALK IT UP: Mean Fiddler Hotel, Woolshed - Rouse Hill THE 3 B’S SHOW: East Leagues THE ANGELS: Canberra Southern Cross Club - Top Of The Cross THE CLUE, GENERATION CLASH, THE GUNN SHOW: Excelsior Hotel - Glebe THE DOORS EXPERIENCE: Dapto Bowling Club THE GETAWAY PLAN, BREAK EVEN, GATHERER, THE CAVALCADE: Cambridge Hotel - Newcastle THE GOYLES: Wollongong Bowling THE JURY: Chester Hill RSL THE NEVILLES: Macarthur Tavern Campbelltown THE NEW CHRISTS, FAMILIA, WOLFPACK: The Square, Hay Street Haymarket THE RADIATORS: Lizottes, Dee Why THOMPSON GUNNERS: Carousel Inn Rooty Hill TOM T DUO: Kellys on King Newtown

themusic.com.au

TOUR DE FORCE: Liverpool Catholic Club TWO MINDS: Mercantile Hotel - The Rocks VANITY: Beach Palace Hotel - Coogee VIP: 3 Wise Monkeys Pub - City WE ARE THE CHAMPIONS- QUEEN TRIBUTE: Kingswood Sports Club WHISPERING JACKFARNHAM SHOW: Club Merrylands WILDCATZ: Smithfield RSL YUKI KUMAGAI & JOHN MACKIE, TONY BURKYS, PAUL FURNISS, BOB GILLESPIE: Palm Court Hotel - Corrimal YUM: Engadine RSL ZAC SLATER: Menu 33, Novotel - Rooty Hill

SUN 27 ACCA DACQUIRIS: Bankstown Sports Club ANTHONY HUGHES, DJ TONE: Oatley Hotel ANTOINE: O’Malleys Kings X ARMCHAIR TRAVELLERS DUO: Gymea Bay Hotel BACK TO THE 80’S: Bateau Bay Htl CAMBO, ROB HENRY, CARL FIDLER: Observer Htl CEARA FOX: Kro Bar, East Leagues Club, Bondi Junction DAVE BERNOTH, PHILL SIMMONS: Campbelltown Catholic Club DAVE WHITE DUO: Northies Cronulla Htl

DAVID AGIUS DUO, NICKY KURTA: Ettamogah Hotel - Rouse Hill DOLLSHAY: Mean Fiddler Htl DONNY EDWARDS: North Sydney Leagues, Cammeray DRIVE feat. PETER NORTHCOTE, BRYDON STACE: Bridge Hotel - Rozelle DRUG SQUAD 66, PARTICLES, ART RUSH, THE BADDIES: Sandringham Htl ELTON JOHN: Lyric Theatre, Star City ENDLESS SUMMER BEACH PARTY: Bondi Icebergs GLENN WHITEHALL: Waverley Bowling Club HAPPY HIPPIES: Albion Hotel-Parramatta JAYWALKER: Lizottes, Kincumber JOHN LEIGH CALDER, RAY ALLDRIDGE, RON LEMKY: The Clarendon Hotel - Surry Hills JOSH MCIVOR: The Belvedere Hotel - Sydney KIRK BURGESS: Collaroy Beach Hotel KRISHNA JONES: Oscars Hotel - Pyrmont LL COOL JAZZ: Yardhouse - Haymarket LUCY DE SOTO: Bald Faced Stag - Leichhardt MARK HOPPER: Artichoke Café Manly MATT JONES: Harbord Beach Hotel - Harbord MICKEY PYE: Five Dock Hotel - Five Dock OUTLIER: Orient Hotel - The Rocks PAUL FISHER: Hurstville RSL Club PETE: 3 Swallows Hotel - Bankstown PETER HEAD TRIO + FRIENDS: Harbour View Hotel - The Rocks RADIO LOCAL: Forest Lodge Hotel - Glebe RECKLESS: Northies Cronulla Htl- Sport Bar RESIDENT DJs: Mounties, Terrace Bar - Mt Pritchard REVEL: 3 Wise Monkeys Pub - City ROCKIN REBELS: Penrith RSL, Castle Lounge SAM & JAMIE DUO: Mean Fiddler Htl - Sub Bar SONGWRITERS & OPEN MIC NIGHT, RUSSELL NEAL + GUESTS: Avalon Beach RSL SPENCERAY: Coogee Bay Hotel - Beach Bar

STEVE TONGE: Kincumber Hotel Kincumber, Central Coast STIR CRAZY: Riverstone Sports Hotel - Riverstone STORMCELLAR, SYDNEY BLUES SOCIETY: Botany View Hotel - Newtown THE BADDIES: Sandringham Hotel, street level THE BLACK HILL RAMBLERS: Marrickville Bowling Club THE CONTORTIONIST, THE STORM PICTURESQUE, THE OCEAN THE SKY, PLEDGE THIS, TO OUR FOREFATHERS, CAVALCADE, HOW TO SURVIVE A BULLFIGHT: Valve Bar - Tempe THE LOVE HANDLES: 18 Footers, Double Bay THE MISSION IN MOTION, Strangers, THE SWEET APES: The Lair @ The Metro THE STRIDES: Brass Monkey - Cronulla THE WALKING WHO, SEALION, TAYLOR KING, AXTON FRICK: FBI SOCIAL presents TOM TRELAWNY: Parramatta Leagues - Firehouse ZIGGY & THE WILD DRUMS: Moonshine Cider & Rum Bar ZOLTAN: Panthers Terrace Bar, Penrith

MON 28 BERNIE: Observer Htl JAMES RYAN TRIO: 505, 280 Cleveland St Surry Hills SONGS ON STAGE feat. SENANI, MASSIMO PRESTI, HELMUT UHLMANN, + GUESTS: Kellys on King - Newtown SONGS ON STAGE feat., RUSSELL NEAL, + GUESTS: Orange Grove Hotel - Lilyfield STEVE TONGE: Coogee Bay Hotel - Beach Bar SYDNEY JAZZ ORCHESTRA, EMMA PASK, JEFF CAMILLERI, Don Rader: The Basement THE POD BROTHERS: 3 Wise Monkeys Pub - City


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THE DRUM MEDIA â&#x20AC;˘ 73


BEHIND THE LINES REELING IT BACK IN

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BEHIND THE LINES WITH MICHAEL SMITH

IN SESSION WITH MARK OPITZ

One of Australia’s most respected producers, double ARIA Award winner Mark Opitz, whose CV includes working on milestone albums with INXS, Divinyls, Cold Chisel, Lenny Kravitz, AC/DC and KISS among many, will be presenting a weekend-long Production Masterclass 10am – 7pm Saturday and Sunday at Studios 301 in Alexandria, details of and bookings for which can be made by calling (02) 9698 5888 or emailing adam@studios301.com.

APRA CONNECTS THE BLUE MOUNTAINS

Under the banner 20 Things You Need To Know For Songwriting Success, APRA is presenting its next Connecting Members event 7.30pm – 9pm Monday at the Clarendon Guesthouse Katoomba with multiGolden Guitar-winning songwriter and producer Roger Corbett covering the craft of songwriting and APRA’s David Parry talking about maximising the benefits from your original music. The session is free but an RSVP via the APRA website ensures a place.

BEATON & STELLER TALK KRONOS

Meet Darryl Beaton, multi-instrumentalist, vocalist, producer and musical director for Guy Sebastian, Jessica Mauboy and Stan Walker. Earlier this year he released a stunner of a soul funk album, From The Ground Up, with his band The D1 Cartel, but 7pm Thursday 1 December you’ll be catching up with him at Allans Music + Billy Hyde in Camperdown in his capacity as a user of Korg products and specifically the latest in Kronos multiple sound engines, sequencing, sampling and effects. Along with Korg product specialist Chris Steller, he’ll be bringing you tips and insights on using Kronos live and in the studio. Usual deal – get onto the Allans website and ensure yourself a place for this free event.

MUSO’S CONNECT CENTRAL COAST

An initiative presented by Lisa Butler, founder and coordinator of the Australian Songwriters Conference, along with Music Consulting and Macron Music, 10am through 4pm Saturday 3 December, Macron Music at Erina is hosting Muso’s Connect, an opportunity for musicians, singers and songwriters to connect and learn ways to enhance their careers. The day will include a vocal workshop with Doreen Van Bree as well as a song critiquing session with Butler, who will also present a seminar on developing your music career.

SOUND BYTES

Due for release early February, the new album, Blues Funeral, from The Mark Lanegan Band, was recorded in Hollywood by Alain Johannes at his 11ad studio. As you’ll all probably know by now, the original version of Black Sabbath is reuniting and recording a new album, their first together in 33 years, with Rick Rubin behind the desk producing. Denver, Colorado four-piece The Fray recorded their latest album, Scars & Stories, with producer Brendan O’Brien (Bruce Springsteen, Pearl Jam, AC/DC, Neil Young) at Blackbird Studios in Nashville, Tennessee. Kiwi five-piece The Checks recorded their latest album, Deadly Summer Sway, at Neil Finn’s Roundhead Studios in Auckland, with New York producer “Bassy” Bob Brockman (Black Uhuru, Babyface, Norman Brown), who also mixed the album. Sydney band Alchemy recorded their album with producer Jim Moginie (ex-Midnight Oil, now The Break) at his Oceanic Studios, with Don Bartley mastering it at Benchmark. Newcastle four-piece Funnel Web will be heading into Tommirock Studios in their hometown in February to cut some new tracks. Engineered, recorded and mixed by Anthony Lycenko, who co-produced the album with the band’s singer and songwriter Mick Danby, with drummer Matt Barnes, Worlds In Collision is the debut album from Brisbane band Rokeby Venus, which utilised Studios 301, The Back Room 301 and Rocking Horse Studios, all in Byron Bay. Some additional engineering was done by Barnes at Temple Street Studios in Brisbane, Leon Zervos mastering the results at 301 Sydney. Sydney jazz guitarist and composer Ben Hauptmann recorded his eponymous debut album at Free Energy Device studios in Camperdown with Richard Belkner, who also mixed the album, Oscar Goanna then mastering it at Studios 301 Sydney. Perth’s The Novocaines recorded their latest album, Idle Time, at Ampersonic Studios in Leederville, WA, with producer/engineer Alan Brey, sending the album off to Abbey Road in London for mastering. A collective of producer/musicians, MSD (MusicSoundDance) went into Studios 301 Byron Bay late last year to cut their debut EP, titled simply Music EP, which they’ve just released, with ARIA Awardwinning producer and engineer Paul McKercher. btl@streetpress.com.au 74 • THE DRUM MEDIA

THE REELS HAVE FINALLY LET QUASIMODO’S DREAM GET DIGITAL. TONY MCMAHON FOUND OUT MORE ABOUT THE PROCESS.

R

e-releasing a classic pop album from the 1980s, until now unavailable on CD, is always going to be largely about sound quality comparisons. Vinyl enthusiasts will come down on one predictable side of the argument, but, as great sounding as vinyl can be, there are questions of access that also require consideration. The Reels’ second album, 1981’s Quasimodo’s Dream, is consistently ranked one of the best Australian albums and as such it is a good case in point. Languishing for decades at the back of personal record collections and second-hand stores, this truly wonderful gem of a record is now available for long overdue perusal by music fans everywhere and there can be nothing bad about that, digital/analogue dichotomy or no. Surely, also, the last word must rest with one of Quasimodo’s Dream’s primary creators, lead singer and songwriter Dave Mason. “Of course it does,” he says emphatically when Drum asks if the remastered and re-sequenced digital version sounds better that the original vinyl. “Vinyl? Oh, poo poo. They’re different mediums. I’ll tell you one thing that sounds so much better here than on the record: that’s the vocals. They come out so much better. That’s a really big difference. Just a flick of some knob somewhere on some gizmo and there you have it.” This year is, of course, the 30th anniversary of when Quasimodo’s Dream first came out, but Mason says that it was more about preserving the music digitally than celebrating any kind of milestone. “It’s not a thirty-year thing; that’s coincidental. I just wanted to put them all out. The master tapes are all in such poor condition at the moment, I just felt it was very important to get them all transferred to digital. One of the reasons I signed with Liberation was that in the contract [they specified] they would re-release the first three albums on digital. Because none of them had been; oh, actually, Beautiful had been. It was one of the first CDs released in the country, but it sold more records than it did CDs. Hardly any CDs were sold, because CDs weren’t really selling much then. A bit like

now. So, it’s just about getting them onto digital. I can’t afford to do it myself, because it’s such a rigmarole.” As far as the technical aspects of the remastering are concerned, Mason admits he is not the person to be talking to. And, also, that he was banned from the sessions anyway. “I would have liked to be involved in the remastering, but I wasn’t allowed to be. Nothing to do with the record company or anything. The guy who remastered it, who was actually one of the guys involved with the original, he didn’t want me in there, which was fair enough. I trusted him enough. I gave him a list of things that I wanted him to do, and he did that. It was all done by email, just sending stuff back and forth until we thought we got it right. It was a very long process. It was all very degraded, so it was a lot of work.” One of the more interesting aspects of this reissue is that the song order has been dramatically re-sequenced, making it, naturally, a very different listening experience. The opener is now the gorgeously odd title track, and the closing three numbers, Cancer, Dubbo Go Go and Kitchen Man – previously scattered variously on the vinyl version’s second side – now end our Quasimodo’s Dream experience in arguably the way it should always have ended, with something like an experimental pop wave goodbye. Just lovely. Mason says that with hindsight, he would probably have changed the tracks around even more. “I played around with the order quite a bit. Now that it’s out, I probably would have made a few more changes, but pretty much that’s the way I wanted to do it. I was never happy with the way it was. I did it in conjunction with the other band members, too. I’m not a dictator.” Drum is quick to point out – possibly a little defensively – that we would never have suggested such a thing. “Wouldn’t you?” Mason says, perhaps slightly disbelievingly. “Some of the other band members would.” According to Mason, the original Quasimodo’s Dream was not quite the record it was meant to be. Time and circumstance had to be negotiated, and the story he tells rings true with a Madmenlike ‘How Bad Things Were Back Then’ clarity. “This was a very hard record to do. One of the things that happened was that we were halfway through making it

and the record company changed CEOs. In the late ‘70s/ early ‘80s record companies were changing over from the old-style CEOs who knew every little detail of what went on in the company, to accounting-style CEOs. It was like the accountants had taken over. We were told halfway through to stop recording and start mixing the record. So, really, only half the songs had been finished.” In a lovely coda to the story, Mason was honoured with an APRA award in 2001, where a panel of industry experts voted Quasimodo’s Dream as one of the top ten Australian songs of all time. Mason says he wasn’t surprised, though he might have been if it was the public voting. “For a start, it was a songwriter’s award, so [the award] was coming from other songwriters. The song has always been appreciated and been popular with other songwriters. It had been released three times as a single and it had never taken off. The radio stations never played it. That’s always been a problem. The Australian public’s been a problem too. We’re not a rock band, we never have been. If you’re not a rock band in Australia, you’re going to find it fucking hard. So, no I wasn’t surprised, because it was a peer group thing. If it was a public thing, I would have been very very surprised.” Quasimodo’s Dream, released through Liberation, is out now.

GEAR REVIEWS

EGNATER TWEAKER 88 HEAD & 2X12 EXTENSION CABINET

Bruce Egnater started making and modifying amps in the ‘70s. The man is most famous for using a master volume to drive the gain harder at lower volumes, and has been a major name in guitar amplification ever since. The Tweaker line is, to a certain extent, about a tweakerfriendly layout, and the 88 has a pretty straightforward two-channel layout for lower- and higher-gain tones. Each has its own Master Volume control, along with a switch that flips the power amp’s response from flatter, vintage voicing to a more modern response with boosts in the highs and lows. Both channels also share a simple three-band EQ, which includes a Tweaker amplifier trademark — a three-way tone control switch. It engages three completely different passive tone-stacks, which range from powerful low-mids (BRIT), sparkly highs and strong lows (US), and warm, British smoothness (AC). Each of the channels can be switched from the amp’s faceplate or from the included footswitch. One of the nicest features of the Tweaker88 is its ability to set separate boost levels for each channel and change how the boost affects tone and response. Each channel has its own boost level knob and three-way switch that changes the characteristics of the boost by making it a clean or gain boost, or switching it out of the circuit altogether. They can also be conveniently switched in and out via the amp’s fourbutton footswitch. Located to the left of the input jack are two sets of controls (one for each channel) that allow you to mould, twist and morph the gain structures themselves. Each begins with a single preamp gain control and moves to four separate switches that give you the option of tightening or deepening the lows, boosting the gain into metal territory, cutting or flattening the mids, or brightening the top end. With all these options, the 88 is certainly the most versatile and powerful amp in the Tweaker line, and possibly one of the most impressive in the entire Egnater family. Each channel’s four tone-shaping switches helped me carve the tone in greater detail, some with more noticeable effects than others. The most drastic is the Hot/Clean switch, which kicks the pristine clean tone into dirtier territory for blues leads. The Bright/Normal switch,

meanwhile, adds tight highs that bring out the twangy tendencies of the Tele’s bridge pickup for country fingerpicking. The Tight/Deep switch yielded some of my favorite tones from the amp, keeping me in a Chet Atkins-inspired thrall of smooth lead work with soft, but present, moving bass lines over the top. The amp’s Lead channel has loads of gain on hand. But because of the open and clean nature of the KT88-fuelled power section, the overdrive tones rarely got congested. With a Les Paul in the chain, the Tweaker-88’s Lead channel stayed firm and solid in the low end and maintained a crisp high end no matter how much I pummeled the strings. And the fierce-sounding, mid-range grind ripped through the Egnater 2x12 without harshness. Egnater could have voiced the highs and mids to have more of a razorsharp, modern bite, but in passing over that temptation,

themusic.com.au

Egnater gives the amp a very balanced personality, even with the master volume’s voicing switch set to Modern. As a result, I was able to hear every note in a fat, Malcolm Young-esque open chord, while individual notes sang with body and richness. As you can see, there’s good reason for calling this amp the “Tweaker”. While it presents opportunity to sculpt and shape sound more than most two-channel tube amps, the rich and unique quality of Egnater tone remains consistent throughout. Sean Hughes Supplied by CMC music, www.cmcmusic. com.au. For stockists, head to www. cmcmusic.com.au/dealers/egnaterdealers


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TEACHER TO THE STARS!

Covers Drumer Great Sound

Solid reliable and versatile drummer looking to join a working covers band (ideally rock!) Mid 30’s - with 15+ years gigging and studio experience. Pro gear, great sound good laugh! iFlogID: 16072 EXPERIENCE MALE DRUMMER Seeks working covers band/ fill in work 60’s to 80’s looking for easy going people with a positive outlook. Age group 35 plus NO DRUGS ph Mark 0422 173 728 96628330 iFlogID: 15725 Professional mature-age Drummer/Vocals/ reads/back acts/shows - all styles including jazz - available for casual work. phone:(02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 13285

Steve Ostrow, New York voice teacher and vocal coach who discovered and nurtured the careers of Bette Midler, Barry Manilow, Peter Allen, Stevie Wonder and countless others now Sydney City based and welcoming students on all levels; beginners, advanced and performers; Rock, Pop, Classical etc. For availability call on 0408461868.For a free e-copy of my book ‘On Becoming a Singer..A Guide To How’ email me on sostrow@ bigpond.net.au.Lessons include the entire scope of singing...voice production, musicianship, interpretation, performance skills etc.I look forward to hearing from you. iFlogID: 16289

VOCAL TUITION for students having problems with pitch, placement and breathing. tel. John 0431953178 iFlogID: 16004 Wanted left handed electric guitar teacher Parramatta area, Contact John at... rodt1114@ yahoo.com iFlogID: 16308

Video / Production D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multi angles, fr $125 a set, 1 live track $100. All shot in full HD. d7studio@ iinet.net.au 0404716770 iFlogID: 13368 Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We ensure that our products are of the highest industry standards. For enquiries www.kontrolproductions.com iFlogID: 13827

TOP INTERNATIONAL DRUMMER available, great backing vocals, harmonica player and percussionist. Gigs, tours and recording always desired.www.reubenalexander.net iFlogID: 14261

Guitarist 18 year old guitar player looking to form Rock N’ Roll band. Influences: Guns N’ Roses, Aerosmith, Led Zeppelin, New York Dolls. Preferably in South. Call Tom on 0401722767. iFlogID: 13358

Keyboard Keyboard-programming lead guitarist seeks a musician/vocalist with pro-level PA system to partner with. SEQUENCE-DRIVEN mainstream dance covers for parties and corporate. Experienced Professionals ONLY - 0414 729-931 iFlogID: 16277

Other We are a friendly jazz band playing music to any style for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. contact Chris 0419 272 196 ventura@ yayabings.com.au iFlogID: 15177

Singer Attractive 25 year old female singer (trained) searching for covers band to either join or create. Prefer pop, country, modern funk, reggae beats contact me on pebblesandbam@ hushmail.me iFlogID: 15826

Musicians Available

Beginner vocalist looking for beginner musicians to form a band. iFlogID: 16339

Bass Player

Bass Player Available

Experienced bass player (36) available for serious punk / garage band (or dedicated players to form a band) who are interested in touring here and overseas. I’m a founding member of US punk band the Hudson Falcons, tour, label and studio experience. Serious inquiries only please. Contact Jim 0416 824 784 or jimmeyer176@ yahoo.com iFlogID: 16234 Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix.com/ steelechabau/steelechabau iFlogID: 16159

GUITARIST GUITARIST-SONGWRITER LOOKING TO JOIN/ FORM A SUCCESSFUL SYDNEY ‘ROCK’ BAND. I HAVE ‘KILLA’ RIFFS & LYRICS, ORIGINAL SONGS, PRO RECORDING EXP, INCLUDING SONG TITLED ‘CAUGHT BY HER EYES’. HAVE GIBSON ‘LES PAUL’, MARSHALL STACK & OWN TRANSPORT. INFLUIENCES INCLUDE SLASH, METALLICA, ROSE TATTOO ETC... INTERESTED CALL ABE 0405808941 & GET READY TO START A RIOT!!! iFlogID: 16463 SINGER /HARP PLAYER NEEDED FOR DR FEELGOOD TRIBUTE BAND [A LEE BRILLO[ SO IF YOU GOT THE GOODS THE BAND KICKS TONS OF LIVE EXPERIENCE RING OR EMAIL PETE iFlogID: 16036

PLAYER / VOCALIST WANTED

For Role of Sir Paul McCartney in Australia’s most AUTHENTIC Beatle Tribute Show BEATLE MAGIC.Must be able to deliver those challenging vocals of Paul McCarney along with precision playing. Left handed preferred but NOT a must. Instruments , Amplifier and costumes supplied , but must have own transport be willing to travel and be willing to commit. Opportunity also available for placement in our other related shows that we perform under throughout the year, all specialising in 1960’s music. www. beatlemagic.com.au if you wish to check us out. iFlogID: 16451

Bass Player or Guitarist

Guitarist 42 y.o female intermediateadvanced level seeks bass player or guitarist for regular jams with view to creating band. Interests include: Blues, 60’s rock, jazz, pop... Chilli Peppers, Bonnie Raitt, Jimi Hendrix and Rolling Stones. Text details to: 0421 027 973 iFlogID: 16488

BASS PLAYER WANTED \m/ New band is currently jamming & writing a set, influences metal, punk, hardcore, power groove but open to ideas, if it sounds good and moves people. Based around Lower North Shore, Manly & City. Drop me a line Jake 0402539280 iFlogID: 16506 BASS PLAYER WANTED For all original pop/rock band. I’m looking for someone with a reliable, dedicated attitude. Not necessarily Stanley Clark. Phone Paul on (0404) 283273 or email: promacca@gmail. com iFlogID: 16131 BASS PLAYER WANTED Original rock/metal band Blacktown area Gigs booked Contact Dan 0404262116 NO SHIT KICKERS iFlogID: 16496

Bass Player Wanted for original funk/pop band influences from Prince to RHCP, Stevie Wonder to Matchbox 20 Contact Robbie on 0400 177 221 iFlogID: 15582

Bass Player Wanted

Beginner Band Wanted

Drummer wanted established 5 piece band Newcastle area. Semi Pro or pro covers + originals. Hardrock,blues,pop,rocknrol l ,metal. 2 booking agents. gigs booked album 2012 peter 4984 4731 iFlogID: 16125

drummer wanted drummer required for starting of fresh band ,covers and a few originals, covers will range from 70s 80s 90s ,rehearsals will be held weekly,0417044497 iFlogID: 16492

MALE GUITARIST WANTED Female singer/songwriter looking for a guitarist with experience aged between 20-30 that has a passion for playing Pop/Rnb/Soul/Jazz. The right person will need to commit to rehearsing at least once a week.There will be no pay for rehearsals but hopefully the aim will be to start getting paid gigs on a regular basis. Please email me if you are interested alanaderoma101@hotmail.com iFlogID: 16123 Play horns? Funk/soul band looking to build a Horn section no matter what you play from trumpet to the baritone sax contact rhyseaquilina@gmail.com for more information. Sydney based. iFlogID: 16460 Sick of not being in band; unreliable musicians. Old music myspace.com/mypanaceband. Think QOTSA,PJ,RoryG,Tool,Deftones then get guitars and drums in a room. Mike@ mickpanacea@yahoo.co.uk iFlogID: 16368 Untalented Libertines/BlocParty/SexPistols inspired singer/songwriter/guitarist seeks bandmates who are also inspired by these bands, willing to practice, prefer making originals rather than covers & who are easygoing. Inner West/Sydney, How bout it? iFlogID: 13790

HEAVY ALTERNATIVE BAND ALPHA DEGENERATE NEED BASS PLAYER, WILL HAVEN, MARK OF CAIN, UNSANE, SHELLAC, BREACH. GIGS WAITING. PRE-PRODUCTION SONGS AVAILABLE TO LISTEN TO AT www.soundcloud. com/alpha-degenerate CALL MATT 0422796666 OR EMAIL alpha.degenerate@gmail.com iFlogID: 16165 Metal Band based in Blacktown ready to gig seeks bass player to complete line-up. Must have own gear and transport. Influences include: Nirvana, Deftones, AIC, Slipknot, Blind Melon. groganpoo@hotmail.com iFlogID: 16474 Night Flight Led Zeppelin Tribute require a bass guitarist. We are not a lookalike show band. Rehearsals at Haz Studios W.Gosford weeknights. You must have good gear, transport. Contact scottm@y7mail.com iFlogID: 16455 ONE NIGHT IN PARIS Sydney Protocore band infl. by BMTH, Enter Shikari & TDWP. onenightinparisband@gmail. com www.facebook.com/onenightinparisband iFlogID: 16345 Schitzophrenic+eclectic Bass-keteer with groove to Join Band or do some gigs http:// soundcloud.com/ronymunoz call Rony on 0401658007 no time wasters appreciated. iFlogID: 16053

VOODOO NEEDELS BASS PLAYER Bass Player wanted. Willing to rehearse, must have good gear and transport. Rock based along the lines of QOTSA, DOORS, BRMC. Please contact Patrice 0421741665 or Alex 0420423219 for more details and demos. soundcloud.com/voodoo-needels iFlogID: 16351

DJ Looking for a cool DJ to work with in forming a killer club act with live drums/percussion. Call Al on 0400 909 633 drumpercuss@ hotmail.com iFlogID: 14052

Drummer “The Road Crue” seeks drummer Heavy Rock/Metal band “The Road Crue” seeks drummer. Good gear and transport essential, must be able to play double kick. We have an album released and management backing, must have a hunger to play gigs and no time wasters. Influences: Judas Priest, Iron Maiden, Guns n Roses, Megadeth, Dio and Black Sabbath. Ages between 25-35 need only apply, rehearsals in Western Sydney. For further band info send email to: roadcrew2011@hotmail.com Ph: 0435885868 iFlogID: 16293 14-17 year old drummer wanted for new metal band, Metallica, Megadeth, Slayer, Misfits hard rock/thrash metal, has own gear, dedicated and not a time waster. iFlogID: 16384

Bands Bass and Lead guitar player needed for a new agency backed Rock Covers show based in Sydney.Profesional gear, transport and attitude a must.Gigs waiting.contact Roger after 5pm.0404044808 iFlogID: 15515

MUSICIANS WANTED. to form new 60’s - 70’s group. Stones, Beatles Creedence, Eagles etc. Regular social rehearsals working towards gigs. We are experienced 50+ Vocalist, Rhythm Guitarist/Drummer 4727 0230 043 279 0076 iFlogID: 15850

Bass Player BASS

Musicians Wanted

MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or artists and strives to offer quality & creative Music Videos. Visit www. immersionimagery.com email info@immersionimagery.com iFlogID: 13825

Other

vocalist/singer wanted front man/woman we are in the process of starting a fresh band playing covers and a few originals,covers will range from 70s 80s and 90s , rehearsals will be weekly must be a fast learner , 0417044497 iFlogID: 16490

The Damned Humans are an Industrial Rock Band from Sydney, we require a bassist who is committed, has transport and is willing to travel and has great gear to help complete the lineup. The Debut album is being released December 2 with gigs starting next year. Check out our music at www.thedamnedhumans.com and if interested contact Elliott at damnedhumans@ hotmail.com or disturb4@tpg.com.au iFlogID: 16415

BASS PLAYER WITH VOX WANTED

Sydney based, agency backed, working tribute / cover band is in need of a bass player with decent vocal ability. Applicant must be easy going, reliable, professional, have good gear, own transport and be able to fit into a friendly working dynamic. Best suited age range would be late 20s to early 40s. No session musicians please. Set lists available on request. Ronnie 0422 004 260 iFlogID: 16502 BASSPLAYER WANTED URGENTLY FOR ORIGINALS GLAM/HARD ROCK BAND IF YOU PLAY LIKE KISS POISON METALLICA QUEEN DOKKEN, ONLY SERIOUS PLAYERS. MUST HAVE GOOD GEAR ANDPREPARE TO TRAVEL CALL 0425365408 MAQK ANTHONY NOW iFlogID: 16260

aggressive solid drummer needed for band. have material written and demos recorded. rehearse in the wollonong area, keen to gig asap. age/sex/skill level not important. contact 0403508102 for demos iFlogID: 14021 Drummer needed for Hard Rock/Metal covers show. GNR, Motley, Def Lep, Ozzy and many more. Good kit, transport, reliability, experience and skill essential. Above all, have fun. Call Brian 0403207947 iFlogID: 16357 Drummer required for Low Gear. Sydney 7 piece Reggae Soul and Ska band. JUst starting to gig, working towards paying gigs for Xmas. Please contact jon@low-gear.com if interesting! iFlogID: 15459

DRUMMER WANTED FOR SYDNEY BAND

dynamic drummer wanted to complete new sydney guitar band. influences include spoon, wilco, big star, radiohead, stone roses, oh mercy. email dom at whited909@yahoo.co.uk or call 0439 269 615 iFlogID: 16424 DRUMMER WANTED For all original pop/rock band, I’m looking for someone reliable and dedicated. Not necessarily John Paul Jones, phone Paul on (0404) 283273 or email: promacca@gmail.com iFlogID: 16133

Drummer Wanted for original funk/pop band influences from Prince to RHCP, Stevie Wonder to Matchbox 20.Contact Robbie on 0400 177 221 iFlogID: 15584

FEMALE DRUMMER WANTED Dollar Bill (X ‘the prickles’) seeks a female drummer to play snare with brushes to form almost acoustic duo, grand ole opry style. beginner no prob. phone steve 0411528300 iFlogID: 16094

Production Hard hitting rock ‘n’ roll drummer needed for fast, heavy, hard working psychobilly band. Call 0404553748 or email jen@rizemgmt.com iFlogID: 16396 Looking for a drummer interested in creating amazing music, influenced by ethos of bands such as StoneRoses, JoyDivision, Verve, Suede, NickCave, Doors, Smiths, (although by no means exclusive). andrewblomberg@hotmail. com/0406386566 iFlogID: 16020

Pianist or an arranger? I need a pianist and an arranger to work with me on recording/creating covers and originals. In return for your services I offer my studio and compositional/engineering ability, trading 1 hour of my time for 1 hour of your time. If you wish to pay me with currency rather than services, I only accept Bitcoin [BTC]. Please contact me to chat in more detail on 0412 111 935 or michael@urbanfirebeats.com - any day between 9am and 9pm. iFlogID: 15510 Sydney based melodic metal band require drummer to complete line up. Own kit and transport essential. For more information or to express interest contact Rachel 0402 722 010. iFlogID: 16437

I need a pianist to work with me on recording/ creating covers and originals. In return for your services I offer my studio and compositional/ engineering ability, trading 1 hour of my time for 1 hour of your time. If you wish to pay me with currency rather than services, I only accept Bitcoin [BTC]. Please contact me to chat in more detail on 0412 111 935 or michael@urbanfirebeats. com - any day between 9am and 9pm. iFlogID: 15512

Singer Attractive Female Backing Vocalist Wanted for a pop-rock Band/Show with Album on iTunes. Paid Performances booked. Professional, reliable Singer with melodic voice. Phone Extraordinary Entertainment, Mosman on 9969 1179. iFlogID: 16373

Can you sing?!!

Guitarist 18 year old guitar player looking for another guitar player. Influences: GN’R, Aerosmith, Zeppelin, New York Dolls. Preferrably someone in the south (Shire). Call Tom on 0401722767 iFlogID: 13407 Acoustic guitarist/singer/songwriter wanting to rehearse with other acoustic guitarist singers with intention to gig at local acoustic venues and open mic nights. Phone Paul on (0404) 283273 or email promacca@gmail.com iFlogID: 16135

DARK SEXY GUITARIST WANTED

For a band that is creating dark sexy music very much with a Nick Cave feel. You must have the desire and ability to play differing styles blues, country, jazz, sea shanties and rock and roll - in order to form a truly original sound. Your influences should be varied, BAD SEEDS, Sarah Blasko, Tom Waits, Dresden dolls, Rolling stones, Frank Sinatra, Elvis... the ability to not over play is essential. Age 30-40 Rehearsal inner west. MARK 0421 840 720 iFlogID: 16180

Original alternative rock band looking for a modern lead guitarist. In order to fit in you will need to have an array of effects and also good gear. Professional attitude a must. Must be aged between 25yrs - 35yrs. Rehearsals weekly in Wollongong. Please no time wasters. Serious musicians only. To check some of our stuff go to http://www.myspace.com/yoyodiablotheband or call 0404 267 155. iFlogID: 16237

VOODOO NEEDELS 2nd GUITAR 2nd Guitar Player wanted. Willing to rehearse, must have good gear and transport. Rock based along the lines of QOTSA, DOORS, BRMC. Please contact Patrice 0421741665 or Alex 0420423219 for more details and demos. soundcloud.com/voodoo-needels iFlogID: 16370

Keyboard PIANO / ORGAN / KEYS For a band that is creating songs with a Nick Cave feel. You must have the desire and ability to play differing styles - blues, jazz, sea shanties and rock and roll - in order to form a truly original sound. Your influences should be varied, BAD SEEDS, Sarah Blasko, Tom Waits, Dresden dolls, Leonard Cohen, Age 30-40 Rehearsal inner west. MARK 0421 840 720 iFlogID: 15934 Salsa band looking for piano/keyboard player. Must be experienced. Impro not essential but chart reading skills are useful. iFlogID: 16189 Tx King art rock synth act influenced by VAST,PELICAN needs Keys drummer,Bass St Peters, call 0401056876. iFlogID: 16333

Less than 24 years old please. influences: Silverchair, Nirvana, AIC, Sabbath etc Contact Daniel on 0403 885 433 for more info and demos. iFlogID: 13145 Singer wanted to front Hard Rock band from Sydney’s West. Age between 16 to 20 would be best suited. Influenced largely by Motley Crue. Email: sr_2848@hotmail.com iFlogID: 13615

VOCALIST WANTED!!! New band currently jamming & writing a set. Influences are metal, hardcore, punk, Heavy blues/groove mix. Have myspace songs for listening. Contact Jake 0402539280 iFlogID: 16508 Want to be a successful recording artist? We’ll help you write a song produce, mix & master it then help you pitch it Email: studio@musicentourage.com call: 02 4013 1977 iFlogID: 14472

Trombone The Cleftomaniacs, the enthusiastic 25-member a cappella choir who brought you the most recent Sydney A Cappella Festival, invite new members (especially those lovely tenor & bass blokes). Eclectic repertoire from Sting to classical polyphony to gospel and we love to gig! Rehearsals school term Thursday evenings in Waterloo. Contact Catherine 02 9388 7010 / 0414 517 010 / flittie@iinet.net.au iFlogID: 16041 Female, looking for Lori.S ACID KING inspired. We need you to complete line-up. CALL: 0439653489. iFlogID: 16171 FRONTMAN WANTED URGENTLY FOR ORIGINALS GLAM/HARD ROCK BAND IF YOU SING LIKE KISS POISON METALLICA QUEEN AC/DC, ONLY SERIOUS VOCALIST NEEDED. MUST HAVE STAGE PRESSENCE, PREPARE TO TRAVEL CALL 0425365408 MAQK ANTHONY NOW iFlogID: 16262 GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www.THE001Music. com for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088

An exciting new Reggae Project is looking for a trombone player with reggae/ska experience to hit the recording studio immediately! Fantastic potential. Email reggaeproject@hotmail. com or call 0432089495 for more details. iFlogID: 16267

Ian (KARNIVOOL) Clint(BUTTERFLY EFFECT) Maynard(TOOL) Patton(FAITH NO MORE) Kim(DEAD LETTER CIRCUS) Serj(SYSTEM) Corey(SLIPKNOT) Flynn(COG) Chino(DEFTONES) Jonathan(KORN) Chester(lLINKIN PARK) Brandon(INCUBUS)... call SCATTERFLY 0404184802 0403228107 scatterfly@hotmail.com iFlogID: 16329 MALE SINGER WANTED FOR BLUES / SOUTHERN ROCK BAND BASED IN HAWKESBURY AREA. COVERS FROM BLACK CROWES, SKYNYRD, STONES, ZZ TOP, BAD CO. OWN TRANSPORT & RELIABLE. STEVE 0404959756, SCOTT 0416256471 iFlogID: 16394 Rhythm guitarist seeking to join or form Blues/ Rock covers band in the Penrith district. Contact Paul on 0402 746 733 or 4774 0085 iFlogID: 13646

Singer Needed We’re a new band playing heavy stoner rock and roll, looking for an experienced frontman. We have a lot of material written, but are missing the right singer. Inf; Sabbath, The Stooges, Motorhead etc. Call Jeff on 0405 225 267 iFlogID: 15958 SINGER WANTED

DOES YOUR BAND’S WEBSITE SUCK?

We create professional quality AMAZING looking Multipage band websites November ONLY! Discount price $599 (save $1400) + BONUS Facebook design. DON’T MISS OUT Email fox@ musowebs.com today & quote “drum” for the discount! iFlogID: 16295

Earplugs for Musicians Protect your hearing with custom moulded earplugs designed to reduce the level of sound without adversely affecting the frequency response of the music. Choose between 10,15 and 25dB attenuation. Fitted by professional audiologist, by appointment only. Ph 9387 3599 iFlogID: 15216 Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www. bizwebsites.com.au. iFlogID: 15454 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 13862 If you want to use DRUGS, that’s your business If you want to STOP, we can help. Narcotics Anonymous 9519 6200 www.na.org.au iFlogID: 16217 Need to promote your restaurant, club and make it the place to go? Contact us now, because providing good entertainment is a personal skill. Chris 0419 272 196 ventura@ yayabings.com.au iFlogID: 15175

Professional Band Photography

Trumpet An exciting new Reggae Project is looking for a trumpet player with reggae/ska experience to record. Fantastic potential. Email reggaeproject@hotmail.com or call 0432089495 for more details. iFlogID: 16265

Services Beauty Services

CUSTOM MADE MUSICIAN PLUGS

Musician Plugs come in four different filter choices to reduce the volume of loud music to a safer level. They will not distort the tonality of the music, rather simply reduce the volume ‘equally’ across all tones.Fitted by a qualified hearing professional we have a number of locations throughout Sydney as well as in the CBD. To make an appointment call 9223 0225. iFlogID: 16291

Graphic Design

guitarist wanted

Lead Guitarist Needed!!!

SINGER WANTED FOR SYDNEY GRUNGE BAND.

Does your band or act need original music? Let me write music for you in the style of folk/ pop/country/rock Call Paul on (0404) 283273 or email: promacca@gmail.com iFlogID: 16153

GUITARIST WANTED FOR BLUES / SOUTHERN ROCK BAND FREEWHEELIN BASED IN HAWKESBURY AREA. COVERS FROM BLACK CROWES, SKYNYRD, SRV, ZZ TOP, DOOBIES. BACK UP VOX ESSENTIAL. STEVE 0404959756, SCOTT 0416256471 iFlogID: 16392 2nd guitarist wanted for new project playing covers and some originals must have quality sounds we use a lot of delays etc, rehearsals will be weekly 0417044497 iFlogID: 16494

Experienced Progressive Heavy Groove Band seeks, Strong Heavy/ Melodic Vocalist. Think Sevendust, Tool, Karnivool etc. READY TO PLAY!!! Call Si - 0413210550 iFlogID: 16256

Song writer

Tx King,Ambient Synth Rock Act influnced by VAST, PELICAN, Iooking for Keyboards,drummer Bass,St Peters call 0401056876. iFlogID: 16331 WHO ARE YOU? Are you a reliable Metal Head into Conspiracies who plays Drums or Guitar? CONTROL NEEDS YOU... Contact: 0423 350 259 iFlogID: 15071

Singer WANTED ASAP

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses!Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15450 Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $399 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www. bizwebsites.com.au iFlogID: 13864 Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. monstrositystore.com iFlogID: 13611

POSTERS & FLYERS Full Colour Band Posters @ Amazing Prices 100 A4 full colour on Gloss = $40 100 A3 full colour on Plain = $50 100 A3 full colour on Gloss = $80 Go to www.blackstar.com.au for a full price list iFlogID: 14957

Other

iFlogID: 16386

Being a musician too expensive? Awesome daily deals for musicians. Up to 90% off on musical instruments, equipment, services, accessories and much much more! Sign up today(it’s Free!) Go to www.musodeals.com NOW! iFlogID: 16303

Versatile Lead guitarist and drummer with vocals to join Bassist-vocalist for fun, view gigs. Classic rock/ pop. 40+ Sutherland Shire. If you’re bored like me call Steve 0408 088 263 iFlogID: 16483

For a limited time. Free online and print classifieds Book now, visit iflog.com.au

Studio, live, candid or location shots with an experienced band photographer. Gigs, promos, album covers, artwork. Affordable prices, professional quality. 25% off for unsigned bands! Mobile: 0479060317 Email: admin@ mattgphotography.com.au Web: www.mattgphotography.com.au iFlogID: 16047

ROD HUNT PHOTOGRAPHY Experienced photographer specialising in live music photography, promotional photography for bands, portraiture and events. High quality, creative photos at affordable rates. Email rod@rodhunt.com.au for a quote. Or call 0415326721. www.rodhunt.com.au iFlogID: 16504

Tattoo Monstrosity Dreadlocks, Sydney. Dreads and maintenance special: All service $30 per hour. Professional, guaranteed service. Kings Cross. Call 0421356410 iFlogID: 13613

Tuition Bass guitar lessons for beginner to intermediate levels. Aim to push students beyond the basics of bass and how to play the genre THEY love.Sydney’s Inner-West, Contact Blake: 0405182840 iFlogID: 16178

P&O DJ Cruise P&O and DJ Bootcamp present, 8 day, 3 island professional DJ Cruise # 2. Nov 26th, 2012. Book early and save. www.djbootcamp. com.au iFlogID: 15754 SINGING LESSONS THAT-ROCK. Your voice has the ability to sing at the Audioslave/Muse/ Aretha/YeahYeahYeahs level because of Design. Increase range sing with effortless power using the right technique. Beginners-Advanced. 0405-044-513 picture-styling©-CopyrightInteguitar-16thNov2011 iFlogID: 15761

Wanted Other A new online modelling competition is looking for female entrants 18-35.Heat one begins November with the winner each month appearing in an exclusive 2013 calender.Plenty of great prizes Apply darphi@tpg.com.au iFlogID: 16210


GOING BANANAS IN

3 WISE MONKEYS

$200 CASH CARD IN THE BAG AT CHEERS BAR!

FRIDAY NIGHT? CH EC BUD IN HAND? CHEC K. COLLAR UNDONE? CHECK. K? YUP IT’S THE W EEKEND!

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GETTING THE GOOD TIMES STARTED

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GO TO THE BUDWEISER FACEBOOK PAGE: FACEBOOK.COM/BUDWEISERAUSTRALIA TO SEE WHERE THE BEERLEADERS WILL VISIT NEXT

©2011 Lion


Drum Media Sydney Issue #1087  

Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...

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